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UN AVeE RSE Y Ot Berne N SEY" IV AGN LA 
THE UNIVERSITY MUSEUM 


PUBLICATIONS OF THE BABYLONIAN SECTION 
VoL. X No. 4 


SUMERIAN LITURGIES AND PSALMS 
BY 
- STEPHEN “LANGDON 


ProFessor oF ASSYRIOLOGY 
AT Oxrorp UNIVERSITY 


Pi A DEL PTT A 
PUBLISHED BY THE UNIVERSITY MUSEUM 
Lo 19 


Digitized by the Internet Archive 
in 2022 with funding trom 
Princeton Theological Seminary Library 


https://archive.org/details/sumerianliturgieOOlang 


CONTENTS 


NORCO DUICTPIGING, 5 OR ene en 233 


SVE aNe!| PURGES “AND” PSALMS: 
LAMENTATION OF ISHME-DAGAN OVER NIPPUR..... 245 
LITURGY OF THE CULT OF ISHME-DAGAN...... An TA Betts 
Pee eietivMNe TO.UNNINI. . 4.0. i eee 260 
PS LANE OWS) TE NIAD IG 5 Sok SS seal ee a 205 
LAMENTATION ON THE PILLAGE OF LAGASH BY THE 
Tne ee Po. ele a1) pacers Gace « 268 
LAMENTATION TO INNINI ON THE SORROWS OF ERECH.. 272 
Moo CROP TLL MINIT O) UNG. 2. de Ss soaye sede eos < es 276 
LAMENTATION ON THE DESTRUCTION OF UR........ 279 
[IEURGICAL HYMNS OF THE TAMMUZ CUET........ 285 
Ree CYETOeENLIL, Elum Gud-Sun..........+.- 290 
EARLY FoRM OF THE SERIES “Babbar-Gim-é-ta.... 309 
MOIureCnmObe tHE MeULT OF KESH... 2)... ee ee 311 
SERIES Elum Didara, VHIRD TABLET...........-.. 323 


Eee to aN CLT oY MBOLSs 2s Gas ds sto 3 oles ecleve tess 330 


(231) 


tia ee 
we sie re 


INTRODUCTION 


With the publication of the texts included in this the last 
part of volume X, Sumerian Liturgical and Epical Texts, the 
writer arrives at a definite stage in the interpretation of the 
religious material in the Nippur collection. Having been privi- 
leged to examine the collection in Philadelphia as well as that 
in Constantinople, I write with a sense of responsibility in 
giving to the public a brief statement concerning what the 
temple library of ancient Nippur really contained. Omitting the 
branches pertaining to history, law, grammar and mathematics, 
the following résumé is limited to those tablets which, because 
of their bearing upon the history of religion, especially upon 
the origins of Hebrew religion, have attracted the attention of 
the public on two continents to the collections of the University 
Museum. , 

Undoubtedly the group of texts which have the most human 
interest and greatest literary value is the epical group, desig- 
nated in Sumerian by the rubric 7ag-sal.1. This literary term 
was employed by the Sumerian scribes to designate a compo- 
sition as didactic and theological. Religious texts of such 
kind are generally composed in an easy and graceful style 
and, although somewhat influenced by liturgical mannerisms, 
may be readily distinguished from the hymns and psalms 
sung in the temples to musical accompaniment. The 7agsal 


een ee SO 


1 In addition to the examples of epical poems and hymns cited on pages 103-5 of this volume 
note the long mythological hymn to Innini, No. 3 and the hymn to Enlil, No. 10 of this part. 
An unpublished hymn to Enlil, Ni. 9862, ends a-a 4En-lil zag-sal, “‘O praise father Enlil.” For 
Ni. 13859, cited above p. 104, see PoEBEL, PBS. V No. 26. . 


(233) 


234 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


compositions! are mythological and theological treatises con- 
cerning the deeds and characters of the great gods. The most 
important didactic hymns of the Nippur collection and in fact 
the most important religious texts in early Sumerian literature 
are two six column tablets, one (very incomplete) on the Creation 
and the Flood published by Dr. PoEBEL, and one (all but com- 
plete) on Paradise and the Fall of Man. Next in importance is 
a large six column tablet containing a mythological and didactic 
hymn on the characteristics of the virgin mother goddess.? 
A long mythological hymn in four columns? on the cohabitation 
of the earth god Enlil and the mother goddess Ninlil and an 
equally long but more literary hymn to the virgin goddess 
Innini’ are good examples of this group of tablets in the Nippur 
collection.» One of the most interesting examples of didactic 
composition is a hymn to the deified king Dungi of Ur. By 
accident both the Philadelphia and the Constantinople col- 
lections possess copies of this remarkable poem and the entire 
text has been reconstructed by the writer in a previous publi- 
cation.’ | have already signaled the unique importance of this 
extraordinary hymn to the god-man Dungi in which he is 


described as the divinely born king who was sent by the gods 


es ee eee 

‘So far as the term is properly applied. Being of didactic import it was finally attached to 
grammatical texts in the phrase ¢Nidaba 7ag-sal, “‘O praise Nidaba,” i. e., praise the patroness 
of writing. 

* PoEBEL, PBS. V No. 25; translated in the writer’s Le Poéme Sumérien du Paradis, 220-257. 
Note also a similar epical poem to Innini partial duplicate of PoEBEL No. 25 in MYHRMAN’S 
Babylonian Hymns and Prayers, No 1. Here also the principal actors are Enki, his messenger 
Isimu, and ‘Holy Innini’” as in the better preserved epic. Both are poems on the exaltation of 
Innini. 

* Ni. 9205 published by Barton, Miscellaneous Babylonian Inscriptions, No. 4. This text 
is restored by a tablet of the late period published by Pincues in JRAS. 1919. 

* Ni. 7847, published in this part, No. 3 and partially translated on pages 260-264. 

* Undoubtedly Ni. 11327, a mythological hymn to Enki in four columns, belongs to this class. 
It is published as No. 14 of this part. A similar cagsal to Enki belongs to the Constantinople 
collection, see p. 45 of my Historical and Religious Texts. 

° Historical and Religious Texts, pp. 14-18. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 235 


to restore the lost paradise.1 The poem mentions the flood 
which, according to the Epic of Paradise, terminated by divine 
punishment the Utopian age. The same mythological belief 
underlies the hymn to Dungi. Paradise had been lost and this 
god-man was sent to restore the golden age. There is a direct 
connection between this messianic hymn to Dungi and the 
remarkable Epic of Paradise. All other known hymns to deified 
kings are liturgical compositions and have the rubrics which 
characterize them as songs sung in public services. But the 
didactic hymn to Dungi has the rubric [*Dungi] zag-sal, ‘“O 
praise Dungi.”’ It would be difficult to claim more conclusive 
evidence than this for the correctness of our interpretation of 
the group of 7zagsal literature and of the entire mythological 
and theological exegesis propounded in the edition of the Epic 
of Paradise, edited in part one of this volume.’ 

When our studies shall have reached the stage which renders 
appropriate the collection of these texts into a special corpus 
they will receive their due valuation in the history of religion. 
That they are of prime importance Is universally accepted. 

From the point of view of the history of religion I would 
assign the liturgical texts to the second group in order of impor- 
tance. Surprisingly few fragments from the long canonical 
daily prayer services have been found. In fact, about all of the 
perfected liturgies such as we know the Sumerian temples to 
have possessed belong to the cults of deified kings. In the 


1See PSBA. 1919, 34. 

2 One of-the most remarkable tablets in the Museum is Ni. 14005, a didactic poem in 61 lines 
on the period of pre-culture and institution of Paradise by the earth god and the water god in 
Dilmun. Published by Barton, Miscellaneous Babylonian Inscriptions, No. 8. The writer's 
exegesis of this tablet will be found in Le Poeme Sumérien du Paradis, 135-146. It is not called a 
zag-sal probably because the writer considered the tablet too small to be dignified by that rubric. 
Similar short mythological poems which really belong to the zag-sal group are the following: 
hymn to Shamash, Rapau, Miscel. No. 4; hymn to Ninurta as creator of canals, RabAu, BE. 
29, No. 2, translated in BL., 7-11; hymn to Nidaba, Rapau, Miscel. No. 6. 


236 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


entire religious literature of Nippur, not one approximately 
complete canonical prayer service has survived. Only frag- 
ments bear witness to their existence in the public song services 
of the great temples in Nippur. A small tablet* published in 
part two of this volume carries a few lines of the titular or 
theological litany of a canonical or musically completed prayer 
book as they finally emerged from the liturgical schools through- 
out Sumer. Long liturgical services were evolved in the temples 
at Nippur as we know from a few fragments of large five column 
tablets.2. The completed composite liturgies or canonical 
breviaries as they finally received form throughout Sumer in 
the Isin period were made by selecting old songs of lament and 
praise and re-editing them so as to develop theological ideas. 
Characteristic of these final song services is the titular litany as 
the penultimate song and a final song as an intercession. A 
considerable number of such perfected services exist in the 
Berlin collection. These were obtained apparently from Sippar.® 
The writer has made special efforts to reconstruct the Sumerian 
canonical series as they existed in the age of Isin and the first 
Babylonian dynasty. On the basis of tablets not excavated 


at Nippur but belonging partly to the University Museum and ~ 


partly to the Berlin collection the writer restored the greater 
part of an Enlil liturgy in part 2, pp. 155-167.4 In the present 
and final part of this volume another Enlil liturgy has been 
largely reconstructed on pages 290-306.° From these two 
partially reconstructed song services the reader will obtain an 


1 Ni. 112; see pp. 172-178. 

? For example, MyHrMAN, No. 3; RapAu, Miscel. No. 13; both canonical prayer books of 
the weeping mother class. For a liturgy of the completed composite type in the Tammuz cult, 
see Rapau, BE. 30, Nos. 1, 5, 6, 8, 9. 

® See ZIMMERN, Sumerische Kultlieder, p. V, note 2. 

* The base text here is ZIMMERN, KL. No. 12. 

° The base of this text is ZIMMERN, KL. No. 11. 


ee 


~~ 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 237 


approximate idea of the elaborate liturgical worship of the 
late Sumerian period. These were adopted by the Babylonians 
and Assyrians as canonical and were employed in interlinear 
editions by these Semitic peoples. Naturally the liturgical 
remains of the Babylonian and Assyrian breviaries are much 
more numerous and on the basis of these the writer was able in 
previous volumes to identify and reconstruct a large number of 
the Sumerian canonical musical services. But a large measure 
of success has not yet attended his efforts to reconstruct the 
original unilingual liturgies commonly written on one huge 
tablet of ten columns. Obviously the priestly schools of the 
great religious center at Nippur possessed these perfected prayer 
books but their great size was fatal to their preservation. It 
must be admitted that the Nippur collection has contributed 
almost nothing from the great canonical Sumerian liturgies 
which surely existed there. 

Much better is the state of preservation of the precanonical 
liturgies, or long song services constructed by simply joining a 
series of kiubs or songs of prostration. These kz5ub liturgies 
are the basis of the more intricate canonical liturgies and in 
this aspect the Nippur collection surpasses in value all others. 
Canonical and perfected breviaries may be termed liturgical 
compositions and the precanonical breviaries may be described 
as liturgical compilations, if we employ “‘composition” and 
“compilation” in their exact Latin sense. Since Sumerian 
song services of the earlier type, that is liturgical compilations, 
are more extensively represented in the Nippur temple library 
than in any other, this is an appropriate place to give an exact 
description of this form of prayer service which preceded and pre- 
pared the way to the greatest system of musical ritual in any 
ancient religion. If we may judge from the literary remains of 


238 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


Nippur now in the University Museum, the priestly schools ‘of 
temple music in that famous city were extremely conservative 
about abandoning the ancient liturgical compilations. These daily 
song services, all of sorrowful sentiment and invariably empha- 
sizing humility and human suffering, are constructed by simply 
compiling into one breviary a number of ancient songs, selected in 
such manner that all are addressed to one deity. In this manner 
arose intricate choral compilations of length suitable to a daily | 
prayer, each addressed to a great god. Hence we have in the 
temple libraries throughout Sumer and Babylonia liturgies to each 
of the great gods. Even in the less elaborate ki¥ub compilations 
there is in many cases revealed a tendency to recast and arrange 
the collection of songs upon deeper principles. A tendency to 
include in all services a song to the wrathful word of the gods 
and a song to the sorrowful earth mother is seen even in the 
Nippurian breviaries of the precanonical type. I need not dilate 
here upon the great influence which these principles exercised 
upon the beliefs and formal worship of Assyria and Babylonia, 
upon the late Jewish Church and upon Christianity. The 
personified word of god and the worship of the great mater 
dolorosa, or the virgin goddess, are ancient Sumerian creations 
whose influence has been effective in all lands. 

As examples of the liturgical compilation texts the reader 
is referred especially to the following tablets. On pages 2G0-292 
the writer has described the important compiled liturgy found by ~ 
CHARLES VIROLLEAUD.! Itisan excellent example of a Nippurian 
musical prayer service. It contained eleven kisubs, or prayers, 
and they are recast in such manner that the whole set forth one 
idea which progresses to the end. The liturgy has in fact almost 
reached the stage of a composition. And in these same pages 


1 Now in the Nies Collection, Brooklyn, New York. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 239 


the reader will see how this service finally resulted in a canonical 
liturgy, for the completed product has been recovered. On 
pages 309-310 will be found a fragment, part of an ancient 
liturgy to Enlil of the compiled type. Here again we are able 
to produce at least half of the great liturgy into which the old 
service issued. In the preceding part of this volume, pages 
184-187, is given the first song of a similar liturgy addressed to 
the mother goddess. 

Undoubtedly the most important liturgical tablet which 
pertains to the ordinary cults in the Nippur collection is dis- 
cussed on pages 279-285. The breviary, which probably 
belongs to the cult of the moon-god, derives importance from 
its great length, its theological ideas, especially the mention of 
the messengers which attend the Logos or Word of Enlil, and 
its musical principles. Here each song has an antiphon which 
is unusual in precanonical prayer books of the ordinary cults.’ 
Students of the history of liturgics will be also particularly 
interested in the unique breviary compiled from eight songs of 
prostration, a lamentation for the ancient city of Kes with theo- 
logical references. This song service was popular at Nippur, for 
remains of at least two copies have been found in the collection. 
A translation is given on pages 311-323. 

The oldest public prayer services consisted of only one 
psalm or song. A good number of these ancient psalms are 
known from other collections, especially from those of the British 
Museum. In view of the conservative attitude of the liturgists 
at Nippur it is indeed surprising that so few of the old temple 
songs have survived as they were originally employed; ancient 
single song liturgies in this collection are rare. The following 


ee es ee 
1 A similar liturgy is Ni. 19751, published by Barton, Miscellaneous Babylonian Inscriptions, 
No. 6. 


240 UNIVERSITY MUSEUM——-BABYLONIAN SECTION 


list contains all the notable psalms of this kind. Rapbau, 


Miscellaneous Sumerian Texts No. 31 is a lamentation of the 
mother goddess and her appeal to Enlil on behalf of various 
cities which had been visited by wars and other afflictions. 
RADAU, 1b7d., No. 16 has the rubric k1-Su? sir-gal ¢Enlil, “A prayer 
of prostration, a great song unto Enlil.’”’ A psalm of the weeping 
mother goddess similar in construction to RapAu No. 3 is edited 
on pages 260-264 of this volume.’ No. 7 of this part, edited on 
pages 276-270, is an excellent illustration of the methods employed 
in developing the old single song psalms into compiled liturgies. 
Here we have a short song service to the moon god constructed 
by putting together two ancient psalms. The rubrics designate 
them as sagar melodies,* or choral songs, and adds that it is 
sung to the lyre.’ An especially fine psalm of a liturgical char- 
acter was translated on pages 115-117. It is likewise a lament 
to the sorrowful mother goddess. 

The student of Sumero-Babylonian religion will not fail to 
comment upon one remarkable lacuna in the religious literature 
of every Sumerian city which has been excavated. Prayers of 
the private cults are almost entirely nonexistent. Later Baby- 
lonian religion is rich in penitential psalms written in Sumerian 
for use in private devotions. These are known by the rubric 
ersaggunga, or prayers to appease the heart. Only one has been 
found in the Nippur collection, and none at all have been 


recovered elsewhere. Seals of Sumerians showing them in 
a 
' Translated by Rapau on pages 436-440. 
* Abbreviation for ki-Sub-gt-da = Xéru, strophe, song of prostration. 
* No. 3 of the texts in part 4. 


* sa-gar=pitnu Saknu, choral music, v. ZIMMERN, ZA. 31, 112. See also the writer’s PBS. 
Vol. XII, p. 12. 


* nar-balag.. The liturgists classified the old songs according to the instrument employed in 
the accompaniment. See SBP. pik: 


* See page 118 in part 2. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 241 
the act of saying their private prayers abound from the earliest 
period. Most of these seals represent the worshipper saluting 
a deity with a kiss thrown with the hand. The attitude was 
described as ¥u-illa, or “‘Lifting of the Hand.’ Semitic prayers 
of the lifting of the hand abound in the religion of Babylonia 
and Assyria. Here they are prayers employed in the incantation 
ritual. We know from the great catalogue of Sumerian liturgical 
literature compiled by the Assyrians that the Sumerians had a 
large number of prayers of the lifting of the hand.* In Sumerian 
religion these were apparently purely private prayers unconnected 
with the rituals of atonement. At any rate the Nippur collec- 
tions in Constantinople and Philadelphia contain a large number 
of incantation services for the atonement of sinners and the 
afflicted. These resemble and are the originals of the Assyrian 
incantation texts of the type utukku limnuti, and contain no 
prayers either by priest (kz5ub in later terminology is the rubric 
of priest’s prayers in incantations) or by penitent (Su-zl-la’s). 
The absence of prayers of private devotion in the temple library 
of Nippur is absolutely inexplicable. Does it mean that the 
Sumerians were so deficient in providing for the religious cure 
of the individual? Their emphasis of the social solidarity of 
religion is truly in remarkable contrast to the religious indi- 
vidualism of the Semite. But the Sumerian historical inscriptions 
often contain remarkable prayers of individuals. The seals em- 
phasize the act of private devotion. The catalogue of their 
prayers states that they possessed a good literature for private 
devotions. When one considers the evidence which induces to 
assume that they possessed such a literature, its total absence 
in every Sumerian collection is an enigma which the writer 
fails to explain. 


1 See [V Raw. 53, II] 44-1V 28 restored from BL. 103 Reverse, a list of 47 $u-1l-ld prayers to 
various deities. 


242 UNIVERSITY MUSEUM—-BABYLONIAN SECTION 


In the introduction to part two of this volume! the writer 
has emphasized the peculiarly rich collection of tablets in this 
collection pertaining to the cults of deified kings. In the present 
part is published a most important tablet of that class. This 
liturgy of the compiled type in six kiSubs sung in the cult of the 
god-man Ishme-Dagan, fourth king of the Isin dynasty, is 
unique in the published literature of Sumer. Its musical intri- 
cacy and theological importance have been duly defined on pages 
245-247. With the publication of these texts the important 
song services of the cults of deified kings are exhausted. In 
addition to the texts of this class translated or noted in part 
two, I call attention to the very long text concerning Dungi, 
king of Ur, published by Barton, Miscellaneous Babylonian 
Inscriptions No. 3. In that extremely long poem in six columns 
of about 360 lines? there are no rubrics, which shows at once 
that it is not a cult song service. Moreover, Dungi had not 
been deified when the poem was written. It is really an historical 
poem to this king whose deification had at any rate not yet 
been recognized at Nippur. It belongs in reality to the same 
class of literature as the historical poem on his father Ur-Engur, 
translated on pages 126-136. 

The only Sumerian cult songs to deified kings not in the 
Nippur collection have now been translated by the writer and 
made accessible for wider study. One hymn to Ur-Engur 
which proves that he had been canonized at his capitol in Ur 
will be found in the Proceedings of the Society of Biblical Literature, 
1918, 45-50. The twelfth song of a liturgy to Ishme-Dagan 
published by ZiMmMERN from the Berlin collection is translated 


on pages 52-56 of the same article. Finally a long liturgy to 
me 


' Pages 106-109. 
* Less than half the tablet is preserved. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 243 


Libit-Ishtar, son of Ishme-Dagan, likewise in Berlin, has been 
translated there on pages 69-79. Since the Berlin texts 
probably came from Sippar their existence in that cult is 
important. For they prove not only the practice of cult wor- 
ship of deified kings in that city, but the domination of Isin 
over this north Semitic city is thus documented for a period as 
late as Libit-Ishtar. 

Nearly all the existing prayer services in the cults of the 
deified kings of Ur and Isin are now published and translated. 
The student will observe that they are all of the compiled type 
but that there is in most cases much musical arrangement and 
striving for combined effect. A few, and especially the Ishme- 
Dagan liturgy published as No. 1 of this part, reveal theo- 
logical speculation and an effort to give the institution of god- 
man worship its proper place in their religion. The hymns of 
these cults comparatively so richly represented in this volume 
will be among the most interesting groups of religious texts 
supplied by the excavations at Nippur.’ 


OxFoRD, July 9, 19109. 


1 Note that this breviary of the cult of Libit-Ishtar terminates with two ancient songs, one 
to Innini and one to NinA, both types of the mother goddess who was always intimately connected 
with the god-men as their divine mother. 

2 For a list of the abbreviations employed in this volume, see page 98 of Part I. 


SUMERIAN LITURGIES AND PSALMS 
13856 (No. 1) 


LAMENTATION OF ISHME-DAGAN OVER NIPPUR 


The liturgical character of this tablet is unique among all 
the numerous choral compositions of the Isin period. It is a large 
two column tablet containing six long kiSub melodies. Liturgies 
of such kind, compiled by joining a series of kzSubs, or melodies, 
attended by prostrations, represent an advanced stage in the 
evolution of these compositions in that the sections are not 
mechanically joined together by selecting older melodies without 
much regard for their connection, but as a whole they are appar- 
ently original compositions so arranged that they develop a motif 
from the beginning to the end of the liturgy. Choral services 
composed of ki¥ubs in the cults of deified kings have been found’ 
wherein the deeds and personality of the king are sung, his divine 
claims are emphasized and his Messianic promises rehearsed. But 
the liturgy here published resembles in literary style the classical 
lamentations which always formed the chief temple services of 
Sumer and Babylonia. It more especially resembles the weeping 
mother liturgies, but here Ishme-Dagan appears in the lines of 
the service in a réle similar to that of the sorrowful mother 
goddess of the ordinary liturgies, as he weeps for Nippur. 

“Her population like cattle of the fields within her have 
perished. Helas my land | sigh.” 

So reads a line from the second melody. 

1 The twelfth kisub of a liturgy to Ishme-Dagan is published in ZiIMMERN’S Kultlieder, No. 200. 
A somewhat similar song service of the cult of this king has been published in thewriter’s Sumertan 
Liturgical Texts, 178-187. A portion of a series to Dungi was published by Rapau in the Hilprecht 
Anniversary Volume, No. 1. The liturgy to Libit-Ishtar in ZimmeRN, K L. 199 I—Rev. I 7, is 


composed of a series of sa-(bar)-gid-da. 
(245) 


246 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


Lines of similar character occur repeatedly in the laments 
of the mother goddess as she weeps for her people in the standard 
liturgies. In other words, the cult of the deified kings issues here 
into its logical result. The god man created to live and die for 
his people usurps the sphere of the earth mother herself. And 
like her he is intimately associated with the fortunes of mankind, 
of nature and all living creatures. The great gods and the hosts 
of their attendants rule over man and the various phases of the 
universe from afar. But the mother goddess is the incarnation 
of fruitful nature, the mother of man whose joys and sorrows she 
feels. So also in this remarkable liturgy the deified son of the 
great gods lives among men, becomes their patron and divine 
companion. | 

The tablet contained originally about fifty lines in each 
column, or 200 in all. About one-third of the first column is 
gone. The first melody contained at least fifty lines and ended 
somewhere shortly after the first line of Col. II of the obverse. 
It began by relating how Enlil had ordered the glory of Nippur, 
and then had become angered against his city, sending upon it 
desolation at the hands of an invader. When we take up the 
first lines of Obv. II we are well into the second melody which 
represents Ishme-Dagan mourning for fathers and mothers who 
had been separated from their children; for brothers who had 
been scattered afar; for the cruel reign of the savage conqueror 
who now rules where the dark-headed people had formerly 
dwelled in peace. 

At about the middle of Obv. II begins the third melody 
which consists of 38 lines extending to Rev. I 19. In this section 
the psalmist ponders upon the injustice of his city’s fate, and 
looks for the time when her woes will cease, and Enlil will be 
reconciled. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 247 


The fourth section begins at line 24 of Rev. I and ended 
near the bottom of this column which is now broken away. 
Here Ishme-Dagan joins with the psalmists weeping for Nippur. 

Section 5 began near the end of Rev. IJ, and ends at line 16 
of Rev. II. Here begins the phase of intercession to Enlil to 
repent and revenge Nippur upon the foe. Section 6, beginning 
at Rev. II 17, probably continued to the end of the column and 
the tablet. Here the liturgy promises the end of Nippur’s sorrow. 
Enlil has ordered the restoration of his city and has sent Ishme- 
Dagan, his beloved shepherd, to bring joy unto the people. 

After sections 2 and 3 follows the antiphon of one or two 
lines. The ends of sections 1 and 4 are lost but we may 
suppose that antiphons stood here also. Section 5 does not have 
an antiphon. Since section 6 ended the liturgy it is not likely 
that an antiphon stodd there. 


OBVERSE. CoL. [| 


(About eighteen lines broken away.) 


I. ........tug ba-ra-pad-da i 

2. *A-nun-na-ge-ne na-ba-an-ri-gi- 2. The Anunnaki he caused to take 

es-am their seats. 

3. ub-Su-ukkin-na* ki di-gal tar-ru 3. In the Assembly Hall, place 
where the great judgments 
are decided, 

4. eS-bar-e si-di ba-ra-an-7u-us*-am 4. Decisions to arrange he caused 
them to know. 

5. dingir-bi-ne ki-dur ba-ab- gar-ra* 5. These gods he caused to take 


up there their abode. 


ee 


1 yqa-ba- is for nam-ba, emphatic prefix. See PBS. X pt. 1 p.76n.4. Cf. na-ri-b1, verily she 
utters for thee, BE. 30, No. 2, 20. 

2 On the philological meaning of this name, see VAB. IV 126, 55. 

3 For the suffixes ef, us, denoting plural of the object, see Sum. Gr. p. 168. 

4 On ki-dur-gar cf. Gudea, Cyl. B 12, 19. 


248 


UNIVERSITY MUSEUM—BABYLONIAN SECTION 


6. Sug-lag-bi im-Sub-ba aga-bi im- 


12. 


eb 


18. 


r1-a 


. ki-lugal du-azag' kin-sig? unu?- 


gal-ba 


_ tint lal bal-bal-e mu-%u_ be-ib- 


tar-ra 


. Nibru-(ki) uru gis-gig-dagal-la- 


b1-5u 


. uku-sag-gig-ga ni-im-51-1b-te-en- 


na 


. ki-dir-ba gu-ni a-gim* ba-ra-an- 


Sub 

ab sig-gan-dig-ga-gim e-ne sig- 

gan-ba-ra-an-dig 
er-gig sig- bi 


Ves 
uru Sag-bi 


. en-na® dam" dingir ga-Sa-an-bi 


li-b1 nu-tar-r18 


. é-gu-la za-pa-ag 1b-zu-a-bi 
. é-ri-a-sid-gim galu nu-un-tur-tur 


. Nibru-(k1) uru ki ligir-ligir-gal- 


gal-e-ne Su-1m-ma-an-H A°-e- 
am 
a-na-as u-gu 1-n1-in-de-e5" 


6. 


10. 


like 


18. 


Their clean sacrificial food he 
gave, their crowns he clothed 
upon them. 

In the king’s place, the throne 
room, the kinsig of the vast 
abode, 

The libation of wine and honey 
yearly he decreed. 


. For Nippur the city whose 


shadow extends afar 
The people, the dark headed, he 
caused to have reverence. 
But its habitations he cursed... 


. Like scattered cows he scattered 


them. 


. The city’s interior is filled with 


weeping, 


. While the consort, its divine 


queen, is not solicitous for her. 


. The great house which knew the 


cry of multitudes, 


. Like a vast building in ruins 


men enter not. 
In Nippur, the city where great 
princes were prosperous, 


Why have they fled? 


264, 


extensive, abundant,” 


1 Usually written di-azag, throne room. 
32, 107. 


On the meaning of du in this word, see AJSL. 
Written also dé-azag, in Ni. 11005 II 9. 


* Cf. Gudea, Cyl. A 25, 14, the kin-gi of the unu-gal. 
> Br. 7720. The sign TE is here gunufied. Cf. OBI. 127, Obv. + 


4 7in alone may mean “wine,” 
duk-tin, a jar of wine. 
5 a-gim=dimétu, ban, SBH. 50, 2a. 


a-gim ge-im-bal-e, 
, 1125. Unpublished. The line is not entirely clear; cf. BRUNNow, No. 3275. 


as in Gudea, Cyl. B, 5, 21; 6,1. See also Nikotsk1, No. 


The ban may he elude, Ni. 11065 


® For en-na in the sense of “while,’’ see PEry, Sin in LSS. page 41, 16. 


7 The sign is imperfectly made on the tablet 


PCI OBPia35 eu 


° HA is probably identical in usage with PES, and the idea common to both is “be many, 


Note ZIMMERN, Kultlieder 19 Rev. has HA where SBP. 12, 2 has PES; 


Su-pes occurs in Gudea, Cyl. A 16, 23; 11,9; 19,9 and CT. 15, 9229: 
On ugu-de=balaku, na’butu, to run away, see DELITzSCcH, Glossar p. 43. Also ugu-b1-an- 
de-e, V R. 25a 17; w-gi-dé, RA. 10, 78, 14; u-gu ba-an-dé, if he run away, VS. 13, 72 9 and 84, 11, 


STEPHEN LANGDON-——SUMERIAN LITURGIES AND PSALMS 249 


19. uku sag-gig gu-sa-gi-a' udu-gim 19. The people, the dark headed, 


be-ib-??-a all of them like sheep...... 
20. e(?)-en-54 KAK-RU® er a-nir 20. How long shall loud crying(?), 
Sag PA-HI-BAD-a weeping and wailing distress 
(?) the heart? 
21. en-Su bar* be-ib- ul 21. How long shall the soul be terri- 
fied? 
22. Sag nu-ub-si-thg-e 22. And the heart repose not? 
23. “nb “4-la mu-un-tuk-a-rt° 23. Tothe drum and cymbals | sing. 
Ameer LIP PA ld-G) NOs... ks. 2A vad eh, SOLTOWILIEY (0 ue near a as 
7p Sakae Sig Pie: ne ba-dir-ru-ne-es Ze ES OTIC eee Leva well 
26. ......gar-ra-bi er-su ba-ab-bi-ne 20; ; 0. =. ini tears they speak: 
27. .........sub-ba tir-ru-ba-ne Dee areaiiade, omar 
28. ...........Sir-ri-e§ ba-ab-bi-ne 28. ........in misery they speak. 
29. ......ki-dur-bt kar-ra 29. ........whose habitations are 
desolated. 
30. ...........4m-S1-sir-sir-e-ne-es° 30. Unto......they have hastened. 
ieee. 2e-Ne-1g Ae nce ee ee 
32. .......ga(?)nu-zu-gim 32. .......like one that knows not 
218 \ =: (oe a Baie te ee. 1S) lib -COM UstOlt: 


(END oF Co . I.) 


Cored 

(About fifteen lines broken away.) 
ee ot eo s.>... gal v 
2... cece ee eee. .e ba-ab-dig-am* 2 
Bee eee. .ma-lal 1m-me a 


ee eS aR 
with variant 73, 11 u-da-pa-ar=udtappar, if he take himself away. «-gu-ba-an-de-zu, when thou 
fleest, BE. 31, 28, 23. t-gu-ba-de, GENOUILLAC, Inventaire 944; Cray Miscellen 28 V 71: ma 
t-gu-ba-an-de, “If a boat float away,” sbid. IV 14. See also Grant AJSL. 33, 200-2. 

1 Sic! gu-sa-bi is expected; cf. RA. 11, 145, 31 gh-sa-bi = napbar-su-nu. 

2 Sign obliterated; the traces resemble SU. 

3 Read perhaps da-sub=nadi Sa rigmt, to shout loudly. Cf. dig str-ra Sub-ba-a-7u=rigme 
garbis addtkt, ASKT. 122, 12. Passim in astrological texts. 

4 The tablet has MAS. The Semitic would be adi matz kabattu iparrad. 

’ yi is apparently an emphatic element identical in meaning with dm; cf. SBP. 10, 7-12. 
Note ri, variant of nam, SBH. 95, 23 = ZIMMERN, KEi2 15: 

6Sic! Double plural. e% probably denotes the past tense, see Sum. Gr. § 224. 

7 Sign BrUNNow, No. 11208. 

8 The first melody or liturgical section probably ended somewhere in this lost passage at the 
top of Col. II. 

° Text A-A4S! 


250 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


4. ......gul-nu-zu-ne nig-dug 4. .......evil they know not, good 
be-ib-tar-ru-us-am they have decreed. 
5 1-lu-gig im-me 5. Bitter lament I! utter. 
6. nam-li-gal-bi mas-ansu-gim Sag- 6. Her population like cattle of the 
ba mi-ni-ib-til-la-as fields within her have per- 
ished. 
7. a ka-na-am-mu 1m-me 7. Helas! my Land! I sigh. 
8. ki-el kalag tul-tul-la-bi-ne sur?-ri- 8. Maid and young man and their 
-e§ mi-ni-ib- sal-la-as children cruelly have been 
scattered far and wide. 
9. 1§-a-bi im-me 9. Tearfully | sigh. 
10. ¥ek-bi imi-dugud Ség-ga-gim di-e- 10. Their brothers like a rain storm 
be-ib-sud-am? have fled afar. 
II. er-su ss nu- ~— gul-*—s 11. | cease not to weep. 
12. é-e Gb amar-bi kud-du gim ni- 12. The household like a cow, whose 
bi-Su iir-gig-ga® im-gub calf has been separated from 
her, stand by themselves with 
sorrowful souls. 
13. sig-sig® ni- mal- mal 13. They have lapsed into the mis- 
ery of silence. 
14. balag-di' li-ad-dug-ga-ge’-ne um- 14. Oh sing to thelyre! The wailers 
me-da-ii-a-di-gim like a child nursing mother 
who cries in woe 
15. mu-bi er-ra mi-nt-ib-bal-bal-e-ne 15. because of them devised lamen- 
tation. 
16. uru u-mu-un-bi sag-ib-ta-an-dim- 16. The city whose lord had been 
ma magnified, 
17. 1gi-ni sd kur-ra ib-ta-an-gar-ra 17. In whose presence a hostile rule 
ad-e-e§ ba-an-ara-d§ has been established, with 
sighing they have caused to 
walk. 


1 The subject is Ishme-Dagan. 

? The sign is a clearly made Br. No. 10275 but probably an error for 10234. For str-ri-e¥ 
see BA. V 633, 22; SBH. 56 Rev. 27; ZiMMERN, KL. 12 Rev. 17. 

§ This compound verb di-e-sud here for the first time. — di-e is probably connected with de 
to flee. At the end AS is written for AN. Read a-d¥ and construe SeS as a plural? 

* gul=kali, restrain, is ordinarily construed with the infinitive alone; Se-du nu-uS-gul-e-en 
=damama ul tkalla, Lang. B.L. 80, 25; SBH. 133, 65; 66, 15, etc. 

® Confirms SAI. 6507=ukku, dumb, grief stricken. 

* Variant of sig-sig, etc. See Sum. Gr. p. 237 sig.3. Also PoEBEL, PBS. V 26, 29. 

7 On the liturgical use of balag-di, see BL. p. XX XVII. 

* Var. of ad-du-ge=bél nissati, 1V R. 11a 23: ad-da-ge, Zim. K.L. 12 11 3. See for discussion, 
Lana. PBS. X 137 n. 7. 


— 


J 
; 


18. 


19. 
20. 
oH We 


22. 


ree 


STEPHEN LANGDON-——SUMERIAN LITURGIES AND PSALMS 251 


é-zid kur-kur-ra 11-5 ba-an-gin- 
na 


uku sag-gig-gi us-zi' be-ib-tib-ba 
a-na 1b-ag a-na 1m-ga-lam-ma-bi? 
u-mu-un-bi 1b-ta-kas sag-ki-a mu- 


un-du 
ki-Sub*-  gi- 2 kam 


me-gal Sag-b1* ba-ra-an-é-a-as git- 
gig-ga nu-mal?-as 


gis-gi-gal-bi-im® 


.uru a-mu-un-bi Sag ba-da-an- 


dib-ba 


. en-st la-ba-Si-gur-ru sug’-adm-b1 


nu- um- im me 


. Sig-bit a-na-su  gir-ib-ta-an-gar 


. tu(gu) za-pa-dg ma-ma-bi ab-ta 


ib-ta- an-dal 


. @ ? zu sig nar-balag ag-zi-ba° 


18. 


10. 
‘20. 
27. 


22. 


23. 


28. 


209. 


As for the faithful temple, © 
which in the lands excelled 
all, 

(Where) the people, the dark 
headed, reposed in security; 

What has done it, what has de- 
stroyed it? 

Its lord is a fugitive, he hastens 
in flight. 

A melody with prostrations. 
Second section. 


The meaning of the great decrees 
they have glorified. Sorrow- 
ful words they restrain not. 


. This is its antiphon. 


. Thecity whose lord is distressed,? 


. Until when shall it not return 


(to its rest)? Until when 
shall its “How long”’ not be 
spokenr 


. Why are its brick walls trodden 


underfoot ? 

The doves screaming flew from 
their nests. 

The temple......the sweet 
voiced flute, 


Ce Sr ena 


1A new ideogram. Perhaps u3$u kinu, “sure foundation.” 
2 For suffixed mi, bi, ba in interrogative sentences note also a-na an-na-ab-dug-ni, What can 


I add to thee? GenouiLtac, Drebem, No. 1, 12, a-ba ku-ul-la-ba, Who shall restrain? Ni. 
4610 Rev. 1. 


to the “How long” refrain as in this passage. 


’ See BL. p. XLV, and PBS. X 151 note I. 


«On the anticipative construct, see § 138 of the grammar. 
5 wu-mal are uncertain. The tablet is worn at this point. 
6 On the use of this term, see PBS. X 151 n. 1 and 182, 33. 


TCE BLA 110, 11. 


8 Written Br. 3046, but the usual form is the gunu, Br. 3009. sug-dm-bi=abulap-Su, 
PoEBEL, PBS. V 152 IX 8: cf. also lines 9 and 10 1bid. In later texts sug-a=abulap, HAupT, 
ASKT. 122. 12. Dewitzscu, H. W. 44a. abulap has the derived meaning of mercy, the answer 


III 1, 53. 
9 Cf. nar-balag nig-dug-ga, PoeBEL, PBS. V 25 IV 48. Our text has the emesal form ag-zib. 


See also SBP. 241 note 27 and Scurank, LSS. 


252 
30. 
ATs 
seh 
33. 
34. 
35. 
36. 
ie 
38. 


39. 


40. 


UNIVERSITY MUSEUM—BABYLONIAN SECTION 


ieee as ate ni REAUCTIE EE 
Entirely destroyed. 

é di- na’ 

é ni-nu-tuk-gim si-ga. . 


dg-me-bi nu-azag-azag-ga 
Su-lug-bi kur-kur-ra_ nu-ub-da- 
sug?-a-gim 
Su-be-in-kal tug-ni 1b-ta-an-71g 
dg-gig-ur-ra a a-Se-ra mu-un-dt 
ta-Se® egir na-am-ga-lim' di-a la- 
ba-an-kalag 
dg-el-dit-a-gim gur-ri° 7ag-be-in- 


bi 


sig-bi pa-e a-na-as 1b-ta-an-é 


30. 
ae 
vos 
33. 
34. 
35. 
306. 
at 
38. 


+39. 


40. 


The temple violently........ 

The temple like one without rev- 
erence...... 

Its regulations unholy ones.... 

Its cult of ablutions like those 
which had not been chosen 
above those of all lands 

He has demolished, its wealth 
he seized away. 

In misery of soul how long shall 
I utter lament? 

Why after the destruction has 
been done is it not respected? 

As one who accomplishes pure 
things this one has uttered a 
curse :— 

“Why rise her brick-walls in 

effulgent glory?” 


REVERSE, Cot. I 


. gig-an-bil®-ba Sag-ba er be-in-[7i- 


em| 


. G-Se kur dg-gig be-ib-aga-a 


u-mu-un-bi im-gul-am Su-b1 be- 
in-gi-adm" 


. uru-bi é-bi in-gul-gul-dm 


. ur-bi 1n-sir-ra-dm Sitim®-e-ne in- 


ra-am 


Be 


Night and day within her wail- 
ing 1s made. 

Now the stranger has wrought 
insult. 


. Its lord like a storm wind their 


hands have removed(?) 


. Their city, their temple, he has 


destroyed. 


. Its foundation he laid waste, the 


skilled workmen he trans- 
ported. 


ee EE EE ee 


' For di-na=Salti$, see RA. 11, 146, 33. 
? Written Br. 3046=nasaku. 
* For ta-34. Cf. BA. V 679, 14. 


‘ Probably a variant of namgalam, namgilim = Sabluktu. 


* The demonstrative pronoun gur, ar. 


®miSi uw urra, 1V R. 5a 657.C E16: 20) 6a) 


7 Text A-AS. 


®Sign AL. Sitim, Sidim=idinnu is usually written with the sign G/M, PoesBet, PBS. V 
117, 14 f. amelu GIM =idinnu, passim in Neo-Babylonian contracts, 


10. 


. 6-e kur ag-rig® 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 


dam dumu-bi Sag-ba mi-ni-1n- 
dig-ga-am 
uru-bi uru-sub-ba im-ma-ni-in- 
tu-ra-am 


. mu-un-ga-b1 ni-e be-in-ne-ra-dm? 


uru-gal-la-bi nu-gal-la mi-ni-1n- 
tu-ra-am’* 


dim-ma-bi gir 1b-ta-an-kur-ra-am 


. thg-bi in-siig'-dm lil-e be-in-sig- 


am 
. t-kas-a-bi 1b-ta-an-kar-ra-am 
. ga-zu-bi. . .. ..mi-ni-1b-til-la-dm 


be-ib-aga-a 


. a-Se-ir-gig im-me er be-1b-lu-lu 


balag-di galu i-lu ba-ab-bi-dm 


. Sag nu-zi-ba-bi_ mu-un-na-ni-1b- 


gi-gt 
u-mu-un-bi me-bi ba-ra-an-é-a- 
as 


_ G-bi nu-mu-un-tag-ga-dm_ li-b1 


nu-tar-ra-am 


6. 


253 


Wife and children within her he 
slew. 

Their city a subjected city he 
caused to become.! 


. Its property he himself took as 


plunder. 

Their city which was he has 
caused to become a city which 
is not. 


. Its works of art he placed a 


hostile foot upon. 
Its garments® he seized away, 
the winds tore them in shreds. 


. Its food and drink he pilfered. 
. Their infants(?)......he caused 


to perish. 


. The temple a stranger plun- 


dered. 


. Bitter sighing | utter, tears | 


pour out. 


. Oh sing to the lyre, he that 


speaks the songs of wailing. 


_ Their hearts which are not glad 


it will pacify. 
The decrees of their lord they 
have glorified. 


~ He’ concerns himself not with 


their oracles; he cares not 


for their future. 


rere ee 


1 Literally, ‘caused to enter.” 


2 munga with ra, to carry away property as booty, 


see SBH. No. 32 Rev. 21 and BL. No. 51. 


The comparison with line 11 suggests, however, another interpretation, 1mmer-e be-1n-ne-ra-dm, 
“é“ ° . ” 
the storm-wind carried away. 


3 In lines 7 and g the verb fur is employed in the sense of ‘‘to cause an event to enter,’ to 


bring about the entrance of a condition or state of affairs. 


4 Br. 11208. . 
5 The passage refers to the priests’ robes and garments of the temple service. 


SBP. 4, 9. 


6 Variant of nam-rig-aga = Saldlu. 
7 See Obv. II 23. 
8 Enlil. 


See also 


254 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


20. ki-Sub-gu 3-kam-ma-am 20. A melody with prostrations. 
Third section. 


21. me-gal-gal-la-ni a-gim ba-ra-an- 21. His great decrees thus he has 
es ordered. 
22. G-bi la-ba-an-iag-ga-adm li-bi nu- 22. He has concerned himself not 
tar-ra-am with their oracles; he cared 
not for their future. 
23. gis-gi-gal-bi-im 23. This is its antiphon. 
24. mu-lu sir-ra' na-dm-tar-gig-ga 24. He of melodious song the sor- 
mu-us? rowful fate weeps for. 
25. me ib-Si-en®-ne-en er 1m-5i-Ses- 25. Sound of mourning he causes to 
$é5-en arise; lamentation he utters. 
26. d-Se balag-di sir-zu- ne 26. Now oh sing to the lyre! They 
that know the melodies 
27. HAR-dir-ra-mu ma-ar ba-bi-ne- 27. My.........shall speak for me. 
am 
28. i-dé-S% kuS-a im-ma-sig'-ga-mu 28. Now I am filled with sighing. 
29. galu*®-bi er-ra ma-an-ma-md-ne- 29. Her population offer prayers to 
am me. 
30. d-Se Sag-zu®-mu né-tab-tab-ba-mu 30. Now my intercession, my plead- 
ing(?), 
31. a-Se dur-ra-bi ma-ar galu mu-da- 31. Now mightily the population 
an-zu-dm unite with me in making 
known. 
32. a-rd gig-ga Sag-sir-ra-mu 32. Upon ways of pain my mercy’? 
33. u-a tur-ra-mu er-ra ma-an-tuk- 33. Oh woe! my children weep for. 
am 
34. é5 é-dit-a ki-diir-a-ne-ne 34. In the house, the well builded 
temple, in their dwelling, 
35. nar-e-es ba-ab-gar-ra ni-tuk ba- 35. Sound like one chanting is raised 
ab-tur-ra-am and praise is diminished. 


a a 

* Rendered Sa sirbi, BL. gs, 19. On this title for a psalmist, see BL. XXIV. 

* “5 has evidently some meaning similar to the one given in the translation but it has not yet 
been found in this sense in any other passage. We have here the variant of 1§, eS=bakit with 
vowel u. See Sum. Gr. 213 and 222. 

*DUL-DU. The sign DUL is erroneously written REC. 236. In the text change si to %. 

* Br. 3730. 

* Here treated as plural. 

* The tablet has SU. For Sag-7u synonym of teslitu, see 1V R. 21*b Rev. 5. 

"libbu riku; see ZIMMERN, KL. No. 8 | 3 and IV 28, 


30. 
37: 
38. 
39. 
40. 


41. 


aD eb Beh edly ma ae ap ee 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 


30. 
37- 
38. 
39. 
40. 


4!. 


255 


The foe has caused my land to 
perish. 
They beseech........ 


My heart which is filled with 
misery by their wailing.... 
may they calm. 

Their weeping is made unto me. 

In the mother goddess’ sanctu- 


ary prayer to me they offer. 
Pnlilees sere ee 


on sue ete! oe 6. 8. 61S Le oe Le 88) 6 6 6 eo tm, OS 


(About twelve lines broken away.)® 


REVERSE II 


galu erim-eka na-am-mu 1b-til-la 
er-ra ma-pad'(?)ma-an-mda-ma- 
ne-am 
Sag dg-gig-ga ib-sig-mu ad-b1-su 
PI-ga?-bi dé-1b-Sed-dé-ne-dm 
er-bi ugi®-ma mu-un-ma-ma-dam 
E+SAL‘ Sag-izi-du ma-ar ma- 
[an-tuk-tuk-e-ne-am|° 
ONG oti it) ey Sek 5 
[..  mu-ra-ab-|\dig mu- na-ab 
.. .Ug-ga-gim 
[ mlu-ra-ab-dig mu-na-ab’ 
.. . .aga- a- mu 
..mu- na- ab 
[ \ma-alr zall-la 
_..4b-dit-e K A-mu-na- ab 
...far-ra-ge-eS — Sag-1zi-du 
arrus® ma-ra-tuk-tuk® 


OOS AEe aan iceagey iar 


‘© 


10. 
Be 
12. 


Have mercy upon me. 


ener 


meaning is obscure. 


2 Text uncertain. 
3 Written 4-KA. An unpublished Berlin syllabar gives A-KA (uga) =mubbu. 


4Br. 5515. For this sign with value maktaku, see Deitzscu, H. W., sub voce and BA.,V 


Perhaps PI-SI-ga-bt. 


1 The sign like many others on this tablet is imperfectly made. ma-pad? or ma-sig? The 


620, 20. The Sumerian value is ama, Chicago Syllabar, 241 in AJSL. 33, 182. 


5 Restored from an unpublished text in Constantinople, Ni. 721. 
6 Section 4 ended somewhere in this break. 

7 Probably a refrain. 
8 For the reading, see AJSL. 33, 182, 240. 
9See BL. 128, 21. 


256 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


13. Sag-zu Sag-sig ib-ta-ba-e Sag-lag 
ma-ra-an-gar-ra-me(sic!)! 


14. sag-7u 7i-71- 1°g15-Sub-ba-7a ul-sn3 
ma-ra-an-ma-ma 


15. ag-kur-ri 7a-ar' 1-r1-1b-aga-e Su-bi 
dé-1b-gi-gi° 


16. uru-ki-a Su-bar-ri nu-zu-a mur- 
r1° dé-ib-sig-g1 


17, k1-Sub gu 5-kam-ma-dm 


13. Thy heart whose portion has 
been affliction become for me 
a glad heart. 

14. Thy head which is held aloof 
turn unto me to glorify thy 
portion. 

15. The hostile deeds which he did 
unto thee be returned unto 
his hand. 

16. In the city which knew not for- 
giveness let there be given 
the cry of multitudes. 

17. A melody of prostrations. Fifth 
section. 


Se ee EO EE eee 


18. a-Se u-mu-un-7u gi-Sub-ba kur 
me-e-S1-1n-ra-am 

19. arrus’ ma-ra-an-tuk-dm na-dm-7u 

in-tar-ra-am 

20. sig-7u a-Se-ir ib-ta-an-é-a ib-si 

be-in-dug-ga-dm 


21. gar-Sdg-gi-7u-ra® ma-ra-ni-in-tu- 

ra-am 

22. “Nin-uraka  maxkim kalag-ga 

sag-7u be-in-tuk-dm® 

23. dun-t-a-ni _giS-ib-Si-in-gub-ba- 

ami 

24. é-kur kalag-kalag dit-dia-n-dam 4- 
mu-un” ba-an-ag-dm 


18. Now thy lord anger upon the foe 

| will direct. 

19. He will have mercy and will 
decree thy fate. 

20. Unto thy brick walls where 
lamentation arose he will 
command “it is enough.” 

21. Thy happy soul he will cause to 
return for me. 

22. Ninurash the valiant guardsman 
will sustain thy head. 

23. His pastor! he will establish 
over (the city). 

24. Ekur like (a temple) which has 
been tenderly built he will 
a Kener 


ee eee 


1 Read A-AN, i. e., adm. 


Cf. sag-bi zi-71, ZIMMERN, K.L. 199 I 36. 
°Cf. LANG. Sumerian Liturgical Texts 154, 16. 


* AR is written SI+AHU! 


®* The second sign gi is only partially made by the scribe. 


th 


om 


7 See line 12 above. 


* The analysis of the text and the meaning are difficult. Perhaps a should be taken with 
following sign a-HAR-ri, an unknown ideogram. mur- 


rt is here taken for rigmu. 


*Sic! Demonstrative pronoun. See Sum. Gr. § 163. 
* Here we have the first occurrence of the original expression for kullu $a réSi; cf. BR. 1 1244. 


'0 The epithet refers to 1 §me-Dagan. 
MAS SBP Os tn) tn, 


* This word is obscure and unknown. 


a a eee 


25. 


26, 


23: 
20. 
30. 
a1. 
32; 
33. 
34. 
35. 
36. 
37: 


38. 
39. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 


dg-du-bi ki-b1 be-in-gi-am 


27. gi-gtin-na-bi' ki-gi-gi-bi ud- 
gim kar-kar- b1? 


sug?-ba-la-tum-tim-mu in-na-an- 
dug-ga- am 


, 


garza kur-ri ib- siig'- am 


me? 1b-bir-a-bi ki-bi-Su in-gar-ra- 
am 


Su-lug erim®-e Su-be-in-la-a-ba 


azag-gi el-e- bi 
uru-azag nam-sub-da-ni in-na- 
an-dug-ga-am 

[2] [$-me-4Da-gan sib kenag-ga- 
ni-1r® 

......bi(?) gt ul-Sar-Sar-ri-da 
in-na-an-du g-ga-am 
-.....azag nam-tar-ri-da-ni 


_....-ra-dm 


_,......DU-ra-dm 


as. 


257 


Its beauty he will restore to its 
place. 


26,27. That its great dark chamber 


28. 


20. 


30. 


ath 


be restored to its place, that 
it shine like day 
Unceasingly he commands. 


The ordinances the stranger has 
placed in confusion. 

The ritual utensils which have 
been scattered he will restore 
to their place. 

The rituals of hand-washing 
which the wicked caused to 
lapse into disuse,’ 


. To cause to be holy and pure 
_ In the holy city which has been 


consecrated he commands. 


_ For Ishme-Dagan his beloved 


shepherd 
_.....to cause rejoicing 
_.,..he commands. 


The holy......whose fate has 


been decreed, 


(About twelve lines broken away, in case this section continued to the end of 


the tablet.) 


ee 


1On gigunna, part of the stage tower, see VAR V 237.0. 23 
SCE od aes 20; 56 


3 Written Br. 3046. See Br. 3035. 
4 Br. 11208. 


Bue sols. 


5 me=parsu, refers primarily to the rubrics of the rituals, the ritualistic directions, but here 
the reference is clearly to the utensils employed in the rituals. 


6 NE-RU. 


7 Jal, lé-a = Sukammumu, see SBP. 66, 20. 


87r is uncertain. The sign may be either du or nt. 


258 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


11005 


LiTuRGY OF ISHME-DAGAN (No. 2) 


WOlimlis : 
3. “En-lil lugal dingir-ri-e-ne-ge 3. Enlil king of the gods 
4. Sig 1gi-nim-ma nam-en-bi ga-ma- 4. In the South and North! may 
an-sig give lordship over them unto 
me. 
5. dug-dig-ga * Nu-nam-nir-ra-ta 5. By the commands of Nunamnir, 
6. ka-ta-e-a * En-lil-lé-ta 6. By the utterance of Enlil, 
7. An-nienim-7id-démda-a-ar ga-ma- 7. May Anu speak for me an order 
an-de of confidence. | 
8. Sibir-Sibir Su-mu ge-ma-sig 8. Scepters may he give unto my 
hand. 
9. “Urasa-e dt-azag-ga*-ni-a_sal- 9. May UraSa bestow upon me 
gid ga-ma-ni-diig faithful care in his holy throne 
room. 
10. “Nin-lil-li Sag lag-lag-ga-ni* 10. Ninlil whose heart is pure, 
11. bara-mag ud-sud-du  gti-KU- 11. She that in the far-famed chapel 
MAL‘ assures length of days, 
12. gi5-Sub-ba-ma bal-bi Sdg-gi-da 12. She that renders good my por- 
tion exceedingly, | 
13. kuk® *En-lil-ld ka-dug-gi-ma 13. She who unto Enlil spoke assur- 
ingly for me good words, 
14. é-kur-ri ud-Su-us sag-us-ma 14. She who daily protects Ekur for 
me; 


i ee eee 
1 Literally, ‘‘Below and above.” 


* Probably a variant of di-azag. As the phrase is written dug-azag-ga might mean “‘holy 
knees,” birku ellitu, but that is not probable. A parallel passage occurs in the liturgy to Dungi, 
BE. 31, 12, 8, where my interpretation is to be corrected. For du, di, rendered into Semitic by 
the loan-word dé, with the sense “high altar, pedestal of a statue, altar or throne room”’ see 
AJSL. 32107, 

° Cf. Gudea, Cyl. B eRe 

* This phrase should have a meaning similar to “speak words of peace,” “‘assure, comfort.” 
The expression occurs also in Gudea, Cyl. A 7, 5, Ningirsu, son of Enlil gt za-ra ma-ra-gun- 
ga-e, ‘will speak to thee words of peace.” 

* ku’, preposition =eli, is derived from kus =zumru, “body,” literally ‘at the body.” 

* In view of the parallel passages where kings are called the sag-uS of temples and cities (i. e. 
the mukinu or mukil ré$) it seems necessary to render é-kur-r1 as the object of sag-u¥. See SAK. 


197 below c 5; BE. 29 No. 1 1V 6; PBS. V No. 73. A rendering, “She who raiseth me up daily 
in Ekur’”’ is possible. 


—— 


EEE 


15. 


16. 


a 


74 


5 


6. 


if 
8 


9 


10. 


I] 


12. 


13 


14 


15. 
16. 


Ly 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 


ki-uir ki-gal-e! nam Su-ga-ma-ni- 
tar 
*Eu-ki en-gal erida-(ki)-ga-ge 


ganun 7id-mag sag-ma ga-ma- 
ni-in-u5(?) 


REVERSE | 


ki-ur gal-la li-bi tar-ri-ge 
© En-lil-li d-bi gu-mu-da-na-dg 
dug-dig-ga a-a “En-lil-lé-su 
*-18-me- * Da-gan me-en gii-mu 
ge-1n-S1-r1 
ka-ta-é-a lugal-ma-su g15-tig-n1? 
ge-1m-S1-ag 
ki-en-gi-ra nig-si-sd ge-ni-in-gar 
Nibru-(k1) an-gim gu ge-im-mi- 
Us 
é-kur-ra me-bi gu-mu-un-tr-ir 
gis(?)-gar(?) u-a-ba li-be-[in-tar] 


garza‘ ki-ta sub-ba-bi ki-bi ge- 
[mu-un-gi| 


4-Fn-lil-lé me kal-kalag-[ni| 
q-1$-me-* Da-gan me-en........ 
ON inelil-id. fo .ck! . . 


15. 


16. 


259 


May render me my fate in 
Kenur the vast place. 

May Enki the great lord of 
Eridu 


17. Sustain(?) my head in the ritual 


2 te ITS ad, 


chamber, the faithful, the far- 
famed. 


Of the great Kenur its care.... 

Of Enlil his oracle be proclaimed. 

Unto the words of father Enlil— 

Ishme-Dagan am I—verily my 
neck [ will turn. 

To the utterance of my king 
may I lend my? ears. 


. In Sumer justice may | institute. 
. Nippur may I exalt like heaven. 


. Of Ekur its decrees | will deliver. 
. Of the plans(?) unto their care 


may I give heed. 

The sacred relics which have 
fallen from their places may 
I restore to their places. 


. Of Enlil his precious decrees— 


I am Ishme-Dagan—I will.... 


SOtoNinitishere vecavee levwilleeeee 


sanctuary, cult object or something synonymous. 


Bie Dit 5a oe Le Ds 130. 
2 Sic! third person. 
3 Text “his.”’ 

4Or read billudu. 


This passage proves that garza and billudu really do have a meaning, 
See billudi# in VAB. IV Index. 


The meaning, 


sanctuary, has been suggested for the Semitic parsu and this must be taken into consideration. 


260 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


7847 


LiruRGICAL Hymn To INniINI (No. 3 and duplicate No. 4) 
Gores 


1. nin me-dug-ga' babbar dalla-é-a 

2. sai-zid me-lam_ gur-ru kenag 
2-UraSa-a 

3. nu-gig an-na nin(?) sir-gal-gal-la 


_nam-en-na tum- 
ma 


4. aga-zi-dé... 


5. me-imin-bi Su-sd-dug-ga 


6. nin-mu me-gal-gal-la sag-sir-bt 


7a-e me-en 
7. me-mu'-ila me Su-qu-Su mu-e- 
lal 


8. me-mu-‘kin me gab-zu_ be-tab 


9. usumgal-gim kur-ra sub ba-e-sig 


10. *Immer-gim ki ti-gi-a’ * A¥nan 
la-ba-Si-gal 


11. a-ma-ru kur-bi-ta é-de 


12. sag-kal-an-ki-a dingir-ri-bi® me- 
en 


~ 


1. Oh lady of the good decrees, 
that risest splendidly like the 
sun. 

2. Faithful woman, bearing a sheen 
of terrible splendor, beloved 
of Urasha, 

3. Heavenly virgin, queen(?)? of 
the great songs, 

4. Who puttest on a faithful crown, 
who hast been created fit for 
rulership, 

5. Whose hand attaineth the seven 
decrees, ; 

6. My queen, of the great decrees 
their directress* art thou. 

7. The decrees thou bearest; the 
decrees thou holdest in thy 
hand. 

8. The decrees thou directest; the 
decrees thou claspest to thy 
breast (?) 

9. Like a champion thou subduest 
the foreign lands. 

10. Like the storm-god in the place 
of the....curse the grain- 
goddess thou leavest not. 

11. A whirlwind upon their lands 

_ thou sendest. 

12. Oh leader of heaven and earth 

their divinity thou art. 


1 Var. Sar-ra. 
2 Var. is certainly not zn. 


3 For sag-sir, see also ASKT. 96, 25; K.L., 199, 15; 199 Col. III 51; CT. 24, 15, 79. 


4 Var. mu-e. 


® Cf. Ni. 4581 Obv. 8in PBS. X pt. 2, where it is connected with 4-Tmmer. Var. KA-gi-a! 


®Read HU for RI(?). muSen=bélu, beltu, cf. PBS. V 15 Rev. 14. 


divine queen th u art’’? 


Render “Their 


25. 


26. 


27: 
28. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 
. ne-ne-ne-ra kalam-ma a-an-mal 


. dingiri-ir' me-sig-ga®? nin-ur-ra- 


u-a® 


. enim-azag-an-na-ta enim dig-dig 


. garza-gal-gal-la gar zu a-ba 


mu- Un- 7% 


. kur-gul-gul ud-de-da ba-e-sig 


. kenag *En-lil-lé kalam-ma im- 


Mi-ni-r1 


. d-aga *Nin-lil ba-gub-bi me-en 


. nin-mu 7a-pa-dg-zu-su kur ni- 


gam-gam-e 


. ni-me-lam-ra‘-zu-da nam-lu-gal- 


lu 


. nig-me-gar gir-bi u-mu-ri-gub 
. me-te me-gus-bi Su-ba-e-ri-ti 


. t-lu er-ra-7u gdl-la-ra-ab-Sé§(?) 


é-a nir-gal-gal-la sil-ba mu-ri-du 


igi-mé-ta gar ma-ra-ta-si-ig® 


nin-mu d-ni-7a enim-enim-ni- 
dug-e 
ud ul-ul-gim ni-du-du-ne 


1Var. nt. Sic! 

2 Var. ma. 

3 hamimat k1SSatz. 
4 Sic! 
5 Text gir! 


24. 


25. 


26. 


27. 
28. 


Prepositions ra and da in the same phrase! 


. Beloved of Enlil, 


261 


. For them thou didst create the 


Land (of Sumer). 


. That givest orders unto the gods 


(?), queen that guidest the 
universe. 


. That utterest command by the 


holy order of Anu. 


. The great decisions who (but 


thee) knoweth to teach? 


. Thou that shatterest the moun- 


tains, by a spirit of wrath 
thou art filled. 

thou hast 
founded the Land. 


. Thou art she that hast effected 


the mandate of Ninlil. 


. My lady, at thy cry the lands 


quake. 


. At the fear of thy splendor let 


mankind 


. With shouting await thee. 
. Fittingly they have received 


their terrible decrees from 
thee. 
Thy lamentations and mourn- 
ings let them wail for thee. 
Unto the temple the chief singers 
shall walk the streets for 
thee (? ?). 

From before the face of battle 
they hasten unto thee. 

My lady, of thy fury they speak. 


The spirit? like an onrushing 
storm rushed over them. 


6 Cf. mar-zen, gar-zen= basu, SBP. 116, 33; K.L., 15 II 12. 
7 In liturgies usually translated by ‘“‘the Word.” 


262 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


29. ud ka-ra-ta uku im-da-ab-ra-ra 29. The spirit with a loud cry anni- 
hilated the people. 

30. *Immer-da ti- mu-da-an-gi-gi-im 30. By the storm god they were 
earn: accursed. 

31. im-gul-im-gul-da im-da-kuS-u-ne 31. By the storm winds they were 
brought to woe. 

32. gir-za sil kuS-0 1-ni- st 32. Thy foot hastens restless in the 
street. 

33. balag a-nir-da i-lu mu-un-da-ab- 33. Upon the lyre of weeping they 

bi utter lamentation. 
34. nin-mu ° A-nun-na dingir-gal- 34. Oh my lady, the Anunnaki, the 
gal-e-ne great gods, 
35. su-din-(gu)-dal-a-gim' dul-dé mu- 35. Like a flying sudin-bird from 
e-$1-ba-ra-as the crannies hasten unto thee. 
36. igi-gir-a-za-la® ba-lag-gi-e3-a° 36. When before thy feet they run, 
37. sag-ki gir-a-7a sag-nu-mu-un-ne- 37. Unto the presence of thy feet 
ga-ga‘ they attain not. 
38. ¥ag-ib-ba-za ba-a ni-te-en-[te-en] 38. Thine angry heart who shall 
; pacify? 

39. Sag-gul-la-za te-[en-te-en-na-dm|) 39. Thine evilly disposed heart let 
become calm. 

40. nin gar-ni Sag nin[....-ni-....] 40. Oh lady, whose soul is magnani- 
mous; oh lady [whose... .. is 
Mates 

41. tb-ba nu-te-en-[te-en.......... ] 41. Whose wrath is unpacified... .. 

42. nin-kur-ra-dirig-ga........... 42. Lady that stormeth over the 
mountains........ 

43- gar*-sag:ki-za. ba oct. ae ee 43. The mountains (?) thy place (?) 

44. kd-gal-a 44. The great gate......... 

1 Cf. SBP. 6, 16. , 


*Forra. Read za-la for lal-la ? 

3 Note the overhanging vowel a denoting a dependent phrase without a relative introductory 
adverb, and see also Sum. Gr. page 163, examples cited bé-in-da-ra-du-a, etc. 
‘The plural of this verb has been indicated by doubling the root, a case of analogy, being 
influenced by the similar plural formation of nouns. See Sum. Gr. § 124. An example of the 
same kind is sag-nu-mu-un-da-ab-ga-ga=ul i-ir-ru-Su, “they approached it not,” K. 8531, 6 in 
Hrozny, Ninrag, p. 8. 

® Text ub! Read ub sag-ki-za=tupki pani-ki(??). 


eae eee ee 


Se , 


a 


Mite wn eae 


7 


dirig-ga* 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 263 
COL 
galba'-ba nu........ Fo cits frosts. 12. 
hn 2 a 2. 
CE C6 gS ae 
nir-da-ni-b1*. . . “ees ed Nes AC AMIS 3, es ee 
uru tus dinig-di-bi mer-t-in-si- 5. Their city, an arid habitation, 
[s7] the whirlwinds have filled. 
. kal-Sag-gan-bi......-5% = ma-ra- 6. Their.......workmenin...... 
ab-mu-(mt| supplicate thee. 
uru-zagin-ra 1i-be-in-diug-ga* 7. For the brilliant city they mourn 
in song. 
a-a uku-za |i-be-in-e3-a-a 8. The father thy creator sends 
forth cries of distress for it.’ 
ka-azag-7u dé-in-dig-dug gir-za 9. May thy holy mouth speak the 
ge-1b-gi command and thy feet return. 
. $a-ab-bi-ta gus ge-ib-ta-an-Zi-nt1 10. From her midst mayest thou 
cast the cruel one. 
. sal-bi dam-a-ni-ta $dag-ga-na-ds 11. Let a woman with her husband 
an®-da- ab- b1 speak kindly. 
. gig-u-na-la’ na-an-ba-nt-1b-gi-gi 12. During the nights forever let her 
return unto him. 
. nig-azag Sag-ga-na nam-mu-da- 13. That which is pure in her heart 
an-bur-ri may she disclose. 
. u-gul-zi-zi-1_ dumu-gal 4 Zu-en- 14. Fervid intercession unto the 
na-as great son, Sin, 
. nin dingir-ra dirig-ga* a-ba ki-7a 15. Oh lady surpassing the gods 
ba-an-tum who beside thee brings? 
. me-zi-de nin-gal nin-e-ne 16. Establisher of decrees, oh great 
lady, their lady, 
uru-azag-ta é-a ama-uku-ni-tr 17. Thou that risest from the holy 


city, thou that surpassest his® 
child-bearing mother, 


ee ee Oe 


1 For the form, see PBS. V 102 IV 3. 


2 If la be correct, then the reading is £a-szl-la. 


3 Cf. nir-da-an, K. 45, 6, and nir-da, Gudea, Cyl. A 12, 26 with 18, 3 where nig-erim=nur-da. 


4 For i-lu-dig = sarabu. 


Saa=2a=ash. CT. 15, 11,7; K. L. 3b 28. Cf. also the N. Pr. 4.Cithar-a =*Gisbar-2. 


~The fire-god causes to come forth.” 


® So the text for Sdg-ga-d3 na-an-da-ab-b1. 


7-See above, line 36. 


8 For the construction dirig with ra, see li-ne-ir dirig=cli annim rabt, POEBE!, 


? Refers to Sin. 


PBS V 152 32 


264 


20. 


eke 


22. 


23. 
24. 
25. 


20. 
a 


28. 
20. 


30. 
at; 


32. 


33. 


. gal-gu igi-gal nin kur-kur-ra 


. gi-gdl kalama-zu-a_ sir-azag-7u 

ga-a-an-dug 

dingir zi-me-a tum-ma ki-bi dug- 
=PdeD) erie 


Sag-sud-du sal-zid lag-ldg-ga me- 
qu ga-mu-ra-ab-dig(?) 


mi-ib-azag-ga gu-mu-e-S1-1n-tu-rt 


en me-en en- -ul-an-na me-en 
gi-ma-sd-ab ni-gitr-ru keSda-b1- 
dug 
ki-sig-ga be-in-gar ma-e nu-mu- 
un-ne -ti-li 

ud-de ba-nim ud-es da(?)-bil 
gis-gig ud-de ba-nim ° -da im-mi- 
du 

KA-laél-mu Su-? a-ba-ab-tum 
ninda-mur-sdg-Sdg-mu da-ta ba- 
e-de-gi 

nam-mu *En-lil lugal an-ki 


an-ra enim-mu-na-ab an-e ga-ba- 
dug-e 

a-da-lam an-ra enim-mu-na-ab 
an-e mu-e-tib 


nam-lugal-an-ni sal-e ba-ab-kdr- 
ri-en 


18 


19 


20. 


2!I. 


22. 


23) 


24. 


25. 


26. 
ov. 


28. 
20. 


30. 


sit 


52 


33 


UNIVERSITY MUSEUM—BABYLONIAN SECTION 


Intelligent and wise, oh queen of 
the lands, 
Oh breath of life of thy Land, 
I will recite thy holy songs. 
Divinity who has been made 
agreeable unto the fury of 
battle, whose words unto their 
place: ¢ikm pene arene 
Thou of the unsearchable heart, 
who purgest faithfully, I will 
relate thy decrees. ° 
The holy mi-ib weapon verily 
thou causest to enter upon 
(the foe). 
“A -roler’amil, a TUlely ene OF 
heaven am I.!” 
The reed censer | bear and I 
arrange the ritual(?). 
At the parentalia I place it; and 
these things I cease not to do. 
Byadayeleeers and daily renew 
By night and day I..... and in 
...am clothed(?)? 
My of honey..... I bring. 
By my pious offerings of baked 
cakes thou wilt be pacified. 
Something Enlil lord of heaven 
and earth 
To Anu spoke as a command and 
verily Heaven is opened. 
Now unto Anu he has spoken 
the command and thou causest 
Heaven to shudder. 
The royal power of Anu thou a 
woman hast seized. 


* Here begins abruptly a passage spoken by the goddess herself. This is not unusual in 
liturgical texts. 


4 The sign is dz, not dul. 


STEPHEN LANGDON-——-SUMERIAN LITURGIES AND PSALMS 265 


15204 (No. 5) 


PsALM TO ENLIL CONTAINING A LONG INTERCESSION 
BY THE MOTHER GODDESS 


This liturgical psalm in one melody adds one more docu- 
ment of this kind to the classical Sumerian corpus of old short 
musical services on which the later complex liturgies were based.! 
The title, drabu-(gu) drabu-(gu) muzu kurra munmdllasu zée 
_alménna, arranged in seven dactyls, does not appear in the cata- 
logue of old songs given in the Assyrian list, 1V Raw. 53 Col. III. 
Since the greater part of the psalm consists in an address of the 
mother goddess to Enlil on behalf of Nippur, the composition is 
defined as an adoration of “my mother,’ an epithet applied to 
Innini by the singers in most liturgies. The psalm begins with 
twelve lines sung by the choir and addressed to Enlil. They 
then in lines 13-15 introduce Innini whom they represent in 
discourse before Enlil in lines 16-47. This part of the song 
service contains refrains characteristic of public worship. Theo- 
logically the text illustrates one of the most profound principles 
of Sumerian religion, the sympathy and concern of the virgin 
mother for mankind.? The great daily services of the standard 
prayer books represent her as a mater dolorosa and she with 
Tammuz shares the vicissitudes of mortal life. Our text is 
unique and noteworthy for one salient fact. It illustrates the 
scenes so common on Babylonian seals, where the mother goddess 
stands in intercession before the god, with one or both hands 
raised in supplication and the left foot advanced as though about 


1 For a discussion of these early Sumerian single song services, see the writer’s Babylonian 
Liturgies, pp. XX XVII ff. 

2 See also line 13. 

3See Tammuz and Ishtar, p. 111. 


266 UNIVERSITY MUSEUM—BABYLONIAN SECTION 
1. arad-bu-(gu) ard-bu-(gu) mu-7u 1. Oh bird arabu, arabu', thou art 
kur-ra mu-un-ma-al-la-5u he whose name is proclaimed 
in the world. 
7¥ ya-e al-me-en-na 
3. *Mu-ul-lil ara-bu-(gu) mu-zu 3. Oh Enlil, arabu-bird, thou art 
kur-ra mu-un-ma-al-al-la-su he whose name is proclaimed 
4 7a-e al-me-en-na in the world. 
5. * Mu-ul-lil ‘ag-sud-du e-ne-em 5. Enlil of unsearchable heart, of 
qid- da faithful word. 
6. gu ki-ma-al? e-ne-em di- dt 6. He that bends the neck, that 
speaks the word. 
7. mu-7u kur-ra mu-un-ma-al-la-su 7. Thou art he whose name is pro- 
qa-e al-me-en- na claimed in the world. 
8. mu-7u kur-ra mu-un-ma-al-la-su 8. At thy name which is _ pro- 
claimed in the world, 
9. dug-ga-zu kur-ra dm-da-ma-al- g. At thy discourse which is pro- 
la-su claimed in the world, 
10. tag-a-zu kur-ra adm-da-ma-al-la- 10. At thy aid which is wrought in 
7] the world, 
11. uru-me-at an ni-bi nam-dub ki 11. In my city heaven trembles of 
ni-b1 nam-sig itself, earth quakes of itself. 
12. nibru-(ki)-a an ni-bi nam-dub 12. In Nippur the heaven trembles 
ki ni-bi nam- sig of itself,earth quakes of itself. 
13. ama mu-gig-gi ama nu-bar-ra 13. The mother virgin, the mother 
ama-mu ni-mi-ni-in-gi-gi courtesan, my mother began 
discourse. 
? iia | J-e ga-Sa-an urt-bar- 14. She the divine........., queen 
ra-ra® of the villages, 


‘The Sumerian ara-bu (UD-DU-BU) is rendered into Semitic by the loan-word arabi, called 
issur mébu, bird of the storm, ZA. VI 244, 48. In CT. XII 7a 2 UD-DU (ara) =nammu, fierce, 
raging, where the entry is followed by UD-DU (ara)=Sa UD-DU-bu (gu), hence in any case a 
bird of prey. Were it not for the reference to this bird in the omen text, BorssiER, DA 67, 18, 
one might conclude that the bird is mythical. For the reading arabit, see also REISNER, SBH. 
104, 35. 

* = kadddu $a k1Sadi, see SBP. 110, 22, “bend the neck,” i. e., “grant favor.” 

3 Cf. V Raw. 39a 33. 

* Cf. dagan-me-a=ina pubri-ni, RA. XI 144, 8. 

* Cf. SBP. 45, 13; 79, 13; 98, 44, etc. 

* For this method of forming the plural see Sumerian Grammar, § 124. For uru-bar=kapru, 


see Meissner, SAI. 543. Note also umun urti-bar, SBH. 22, 57=19, 56 and K. 69 Obv. 20. title 
of Nergal as lord of the city of the dead. 


 — 


STEPHEN LANGDON-—-SUMERIAN LITURGIES AND PSALMS 267 


15. ..........N1-mi-n1-1n-gi- gi LS eee ae CISCOLIT Sed: 
LO fa RU-d-7U-: dé 16. When in.......thou dwellest, 
17, ........-la ku-gar-ra'-zu-dé 17. When in.......thou makest 
thy abode, 
18. [?-Nin-lil-da?}? ga-Sa-an kes-(ki)- 18. With Ninlil (?) queen of Ke& 
a-ge 
19. ........gen mu-e-da-ab-tar-ri 19. .......thou decreest. 
3 
20. .............ge@ me-ri-mu-su' SOMUIASHBIWas yee. | Inve 100te| 
nu-GA-e lifted not.® 
21. [a-a-mu lu-\lu-mu-ur® su-din-gu 21. To my father, my benefactor, as 
ab-ba-ge a sudin-bird of the sea,’ 
22. me-ri-mu-su nu-GA-e 22. My foot | lifted not. 
23. *Mu-ul-lil-|-e ¥ag-sud-da 23. [To Enlil of] unsearchable heart, 
24. [u-mu-un e-ne|-em 71-da 24. [Lord] of faithful word, 
25. [gu ki-ma-al e-|ne-em di-d1 ’ 25. That bends the neck, that speaks 
the word, 
26. ............g€ Me-ri-mu-Su nU- BOMAS sbuwasig com. inyuloots | 
GA-e lifted not. 
27. [* Mu-ul-lil ?]-e me-ri-mu-si 18- 27. [But unto Enlil] | would lift my 
GA-e foot. 
28. .........-1a ga-dm-Si-ra 28. Unto....verily I will go; 
29. [me-ri|-mu-su ga-mu-ni-ib-GA 29. My foot I will lift. 
30. [a-a-mu|lu-lu-mu-tir — ga-dm-S1- 30. To my father, my benefactor, 
ra verily I will go; 
31. me-ri-mu-su ga-mu-ni-1b-GA 31. My foot I will lift. 
32. ¢Mu-ul-lil-ra Su-mu-3u ga-mu- 32. Unto Enlil my hand I will raise; 
ni-1b-GA 
33. me-ri-mu-s% ga-mu-n1-1b-GA 33. my foot I will lift. 


1Cf. Historical and Religious Texts, p. 34, 6. 

2 For Ninlil as queen of Ke8, see also ZIMMERN, KL. 23 3; SBP. 23 note 17. At KeS she 
was identified with the unmarried and earlier deity Ninharsag. 

3 The line drawn across the tablet intersects the address of Innini and, if not for some unknown 
musical purpose, must be regarded as an error. 

4 For the construction, see Sumerian Grammar, § 91. 

5 GA =na¥h, variant of ga (ILA) =nash. The figure of lifting the foot and raising the hand 
(line 30) to Enlil refers to the attitude of adoration assumed by the mother goddess as she stands 
before one of the gods and intercedes for mankind. She is frequently depicted on seals in this 
attitude; see for example WARD, Seal Cylinders of Western Asia, 3034, 304, 308, etc. 

6 The suffixed pronoun mu with affixed preposition ra. 

7 Innini is compared to the sudin-bird in SBP. 6, 16 also. 

8 For the optative use of this vowel, see Sumerian Grammar, § 217. 


268 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


me-e *Mu-ul-lil-ra um-ma dé-til 34. | unto Enlil will say, “ May the 


35. tu!-mu-na-da- ab- dig mother live.” 

36. a-a-mu lu-lu-mu-ur ab-ba dé-til 36. Unto my father, my benefactor, 
I will say, “ May the father 

37. tu-mu-na-da-ab- dug live.” . 

38. gu-gi git-si-di tu-mu-na-dm-mar 38. Words which set aright all 
things I will say. 

39. urii-me-a ama dumu dé-1m-me 39. In my city may the mother hail 
her son, may the son hail his 

40. dumu ama dé-1m-me mother.? 

4. nibru-(ki)-a ama dumu-dé-1m-me 41. In Nippur may the mother hail 
her son, 

42. dumu ama dé-im-me 42. may the son hail his mother. 

43. ugs-e sil-bi ge-im-Si-ib-Se-gi-en 43. To ewe and her lamb may he be 
propitious. 

44. e-ne-em *Mu-ul-lil-lé UZ-dé 44. May the word of Enlil be pro- 

mas-bi pitious to the she-goat and 
45. ge-en-Si-ib-Se-gi-en her kid. 
46. * Mu-ul-lil-ra uru-ni Se-1b nibru- 46. For Enlil, his city, brick-walled 
(kt) 

47. ki-bi ga-mu-na-ab-gi 47. Nippur, unto its place I will 
restore.” 

48. ni-na-teg ni-na-teg ama-mu ni- 48. She offers devotion, she offers 

na teg devotion, my mother offers 

devotion. 


2154 (No. 6) 
LLAMENTATION ON THE PILLAGE OF LAGASH BY THE ELAMITES 
This neatly written but seriously damaged single column 


tablet carried when complete about fifty-five lines. In style the 
liturgical lamentation has a striking resemblance to the lamen- 


i Dialectic for du=da=ga (by vowel harmony). Note the form ga-mu-ra-ab-Sid with variant 
da-mu-ra-ab-%id, Sumerian Liturgical Texts, 155, 30 (variant unpublished). See also Sumerian 
Grammar, § 50. 

* For the idea, see also SBP. 292, 25-20. 

* For SURIM with value uz7=labru, see Tompson, Reports 103, 11 and supply u-uz in CT. 
12, 26a 22. 

The sign for enzu certainly has a phonetic value ending in d; note NiKoLsk1 No. 262, where 
the sign is followed by da and Zimmern, Kultlieder, 123 III 9, where it is followed by dé. 


Sry! 


' 
2 Ee * 


ie te ee 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 269 


tation on the invasion of Sumer by the people of Gutium, 
published in the author’s Sumerian Liturgical Texts, 120-124. 


The same refrain, “How long? oh my destroyed city and my | 
destroyed temple, sadly I wail,’’distinguishes both compositions.! 
Other lines are common to both threnodies. The contents are 
similar to the lamentation on Lagash published in Cunezform Texts 
of the British Museum, Vol. XV 22, of which ZIMMERN has pub- 
lished a variant VAT. 617 Rev. II 10-42,in his Sumerische 
Kultleider. A translation of the British Museum text will be 
found in the author’s Sumerian and Babylonian Psalms, p. 284, 
an edition which can now be improved. 


1. a-al[ | 1. Father [ 
2. ? dingir| ] PIRPEUN CRNOUPT ty nn a eT LA 
3. a uru-gul-la é-[gul-la-mu gig-ga- 3. How long? oh my destroyed city, 
bi im-m1| my destroyed temple, sadly I 
wail. 
4. ud-ba enim ud-dam bi-[.......] 4. At that time the word like a 
storm. 
5. enim * En-lil-ld [ | 5. The word of Enlil. 
6. *En-lil galu nam-tar [ Perino tievetecteee ae. 
determined. 
7. * En-lil-li nim-[ ] gh, Vein Pe 
8. * Ma-ma? dumugu [ ] 8. Mama he prinely sc son. 
9. * Nin-mar-(ki)-ra-ge gut [ le coe Ninmar- . 
10. azag dag-zagin **md-gal-gal-la 10. The holy one fone 0 lapis beat in 
baie | great Spa : 
11. nin nig-ga-su igi-[ |-tz- Ii, Phe queen’... Pr arniliates 


la a azag pi-el..... 


eee ee ee 


1See lines 3, 23, 31 and 44 below and lines 5, 14, 21, 27 and 34 of the parallel text in the 
volume cited above. 

2 This refrain occurs also in Sumerian Liturgical Texts, 121, 5; 122,14, 17; 123, 21, 27, 34, 
where it characterizes a lamentation for various cities of Sumer destroyed by an invasion from 
Gutium. The translation given above is preferable to the interpretation accepted in my previous 
volume. 

3 Title of Sin in CT. 25, 42, 5. Note also that dumugu is a title of Sin, II Raw. 48, 33, and 


C24 30,05: 


UNIVERSITY MUSEUM—BABYLONIAN SECTION — 


270 
12. nin-e KA. ? gim NE-a im-da-ra? 12, “Theiqueen.. 94.0 ee are 
13. ki lagas-(ki) nim-ki Su-ni-a 1m- 13. Thelandof Lagash heabandoned 
ma-51-1n-gi unto the hand of Elam. 
14. ud-bi-a nin-e ud-da-nt 14. At that time his wrathful word 
sd-nam-ga'-mu-ni-1b-diig verily attained the queen. 
15. * Ba-% galu-sukal-lu-gim ud-da- _—_—‘15. His wrathful word attained unto 
ni sd- nam-ga-mu-ni-1b-dig the divine Bau even as a 
messenger. 
16. me-li-e-a ud-dé Su-ni-a 1m-ma- 16. Woe is me, the spirit of wrath 
$i-1n-gi into her hand he entrusted. 
17. ud uru gul-gul-e Su-ni-a im-ma- 17. The spirit of wrath that destroys 
$1-1n-gi the city into her hand he 
entrusted. 
18. ud é gul-gul-e Su-ni-a im-ma-Si- 18. The spirit of wrath that destroys 
in-gi the temple into her hand he 
entrusted. 
i9. [uru?] *Dumu-zi-abzu-ge-ta_ ki 19. In the city(?) of Tammuz of 
nir-Sa-ki-ba-ge 1m*-ma ba-an- the sea, the place of wailing 
bege i SS Oe en terror it caused. 
BO) cds eh fa nir-Sag-(k1) uru nam-Sibir- 20). Lhe cityoae an nirsag, city of.... 
ka ni-kar-kar-ge 17i-ba-ab-dig J a lsone Mite aN LL Oli res iecon= 
sumed. 
21. .......,.uru(?)-ni Nina-(ki)-a 21. Os Di. Ole hen CIey SeNindeete 
kur-r1 ba-ab-gar' seized away to the mountains. 
22. [Si|rar’-(k1) ki-dur kenag-ga-ni 22. Sirar her beloved habitation an 
gul-gal-e ba-ab-Sub evil one has overthrown. 
23. [a uru|-gul-la é-gul-la-mu gig-ga- 23. How long? my destroyed city, 
bi® im-me my destroyed temple, sadly | 
wail. 
24. [gé-par]’ azag nam-en-na-ba <u- 24. Of the holy “Dark Chamber” 
ba-e-la-lal the priestly rites are suspended. 
‘ For namga as an emphatic adverb, see Journal of the Society of Oriental Research, | 20, Met- 
ropolitan Syllabar, Obv. | 12-15. Variant nanga, Sumerian Liturgical Texts, 188, 1, 4 and 5. 
* The scribe has written im twice. 
> Cf. SBP. 4, 6. 


Y gar is employed as a variant of kar, see Sum. Gr. 223. For gar in this sense, note gar = Sabdatu, 
nasabu in the syllabars. See also SBP. 198, 14 and note 15. The same sense of gar will be found 
in Gudea, Cyl. A 6, 16; 7, 14; St. B 9, 16; Cyl. A 12, 25. 


* The third sign of this ideogram is clearly UNU not NINA on the tablet. For the ideogram 
see SBP. 284, 6. 


° For the adverbial force of bi see Sum. Gr. § 72. 
” Restored from Sumerian Liturgical Texts, 123 31, and below line 45. 


CUCU 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS PAG 


25. [en]-bi gé-par-ta ba-da-an-kar ki- 
erim-e ba-ab-K A (du)! 


26. .....KU-si-na * Nannar-ka da- 

dugud ba-Si-in-du 

27. ......gan kaskal-gid * Nannar- 

ka tur-dugud......... 

28. ..........kar-ra-gim ib-ri ba- 

| 1a-) 
29. ........gim ib-ri ba-an-de 


1-1m-gul-gul-lu-ne? 


30. .......... ..azag-ga-bi1m-zi-tr- 
Girt e-Ne. .. s EMNE 

31. [a uru-gul-|la é-gul-la-mu gig-ga- 

bi im-me 


32. [gé-par] azag nam-en-na-ba su- 
ba-e-la-lal 

33. [en]-bi ge-par-ta ba-da-an-kar ki- 
erim-e ba- ab- du 


See eee td-da-b7 |". | |a-nir 

ba-an-da-di 

35. .......-bi nu gud-du sag me-te- 

a-G§ li-be-ib-gal 

BO mere al 4 -10=b1 ba-ra-an- 

kad* 

Be ah ad ik ys. 3%, A-7t-A-e 

ba-da-ab-lal 

38. ...........ka li-erim-e ba-an-e 
BQ te ee, dF )-ab-ag 
4o. é.........-sug-ga ba-an-di 


25. Its high priest from the “ Dark 
Chamber” has been taken 
and unto the land of the foe 


has gone. 
20. 
27s 
28. 
Dee ee tevicestroyed. 
15, 8) ala oo Wee its olya, os ..tney 


Shattered and. nea. 

31. How long? oh my destroyed city 
and my destroyed temple, 
sadly I wail. 

32. Of the holy “Dark Chamber” 

the priestly rites are suspended. 

33. Its high priest from the “ Dark 
Chamber” has been taken 
and unto the land of the foe 
has gone. 


37. Bean ee eehasy pound 
with him(?) 
38) The. ).0bthe.)..: _.the foe has 


39. 
40. 


ee ee a 


1 KA with value du=alaku occurs here for the first time. Variant has du (line 33). This 
text supplies two more signs and makes possible a better translation. 


2 Cf. Babylonian Liturgies, No. 78, 3. 
3 Cf. PBS. XII No. 6 Obv. 11. 
4 |dentification uncertain. 


272 UNIVERSITY MUSEUM—BABYLONIAN SECTION 
41. ki..........LU a-ri tir-dugud- Als. o. Jens oe like a ruined cattle 
gim ba-gul stall has been destroyed. 
42. dingir Nin[...] ma[..... | gir 42. As for the goddess Nin...... 
kur ba-ra-an-ku her....the foe has set his 
foot. 
43. * Nin-li-ga-ge im........na er- 43. Ninliga......weeps bitterly. 


BVA. IV. 


n1-5éS-S5é§ 


. auru-gul-la é-gul-la-mu gig-ga-bi 


im-me 


. How long? oh my destroyed city 


and my destroyed temple, 
sadly I wail. 


45. gé-par-azag nam-en-na-ba* Su- 45. Of the holy “Dark Chamber” 
ba-e-lé-[lal] the priestly rites are suspended. 
46. en-bi ge-par-ta ba-[da-an-kar ki- 46. Its high priest from the “ Dark 
erim-e .ba-ab-K A (du)| Chamber” has been taken 
and unto the land of the foe 
has gone. 

47." Nin-a-tu-ge. ee 47; NinaZziiae 6) oe 

48. “Nin-gar-sag.......<.. 02. 48. \Ninharsagee) = ee 
40. th-(£u)-01 ee ee 49; Like‘a:doves: 2445 ee eee 
50. a uru-gul-la é-gul-la-mu gig-ga- 50. How long? oh my destroyed city 


bi 1m-me 


and my destroyed temple, 
sadly I wail. 
oe 8 @ @ © '@ @ 6 8 «€ ° A 


13859 (Poebel No. 26) 
LAMENTATION TO INNINI ON THE SORROWS OF ERECH 


This well preserved single column tablet is published by 
PorBEL in PBS. V 26. The composition reflects the standard 
theological ideas found in the canonical psalms and liturgies. 
The mother goddess Innini is represented as a divine mother 


wailing for the misery of her city and her people. The calamity 
amin iieri 


' The line is parallel to PBS, X i222, 14: 
? nam-en-na = entitu, priesthood. 
* A title of Nergal. 


* About four lines are broken away to the end of the tablet. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 273 


consists in the pillage of the city and its holy places by a foreign 
invader, who is repeatedly compared to an ox. Like the ordinary 
psalms of public service the singers abruptly introduce the 
goddess speaking in the first person as in lines 16; 18-20; 33-4. 
But the lamentation does not have refrains and at the end the 
style approaches nearly that of a prayer. The tablet also bears 
no liturgical note at the end. For these reasons and because of 
the general impression which the lines leave with the present 
interpreter, he classifies this text as the product of a scholastic 
liturgist of the Ur or Isin period whose work was not incorporated 
into the corpus of the official breviary. 


OBVERSE 
1. gabar aga-[zu?] im-giir-gitr-ri _ 1. Oh pure one thy(?) crown over- 
| _awes. 
2. til-igi-da'-7u.......1m-bi-b1-ri 2. Thy proceeding arrow scatters 
The eee ene oa teia ig! se uties 
3. zid?-gu-Sig sugur-si-lal (ga)-da.. 3. Meal of the....bean to the 
OMS Se een -kur..... beared skate-fish thou givest 
to eat. 

4. eg ga sig eg-eg ga sti-lum-ma-gim 4. She that gives fish to the stream, 
im-bul-[ | in the streams fish (as nume- 
rous) as dates she causes to 

dart about. 
5. gud-dam ra e-sir unug-(ki)-ga-ge 5. Rushing like an ox in the street 
Sar-am mu-na-ab (?)-..... us of Erech like a multitude(?) 

he followed? 
6. $ar-ra gis-KU-A‘* mu-na-an-dir- 6. Multitudinously in the habita- 

ru-ne-es tions they dwelled. 


1 jgi-da occurs also in the title of Sin, igi-da-gdl, ZIMMERN, KL., No. 1 Obv. 13 and6. The 
most natural interpretation is to regard da as a variant of du, hence “‘to go before.” 

2 Written tug. gu-sig is a kind of plant, on a tablet of the Tello Collection in Constant 
MIO. 7086. For the meal of the gu-sig see also CT. X 20, I] 33 and REISNER, Templeurkunden, 
128 Col. III. 

3 Restored from line 14. Here begins the rehearsal of the woes of Erech. 

4Cf, also CT. 15, 19 Rev. 2 where a place word is also expected. - 


inople, 


274 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


7. Sattam-a-ni lugal gab-gal' ki-gub- poielor precentor,” the defender 
bu-ne ba-ra-é king, whither they go, went 
up. 
8. ugnim-e igi-im- ma- an- Sig 8. The hosts of peoples she beholds. 
9. nar-e li-du-a ‘Su-t-ni-in-gi ub g. The singer refuses to chant and 
Su-na be-in-sub from his hand has thrown the 
drum. 
10. ni‘-nag-a-7u ni-nag-a-7u 10. Thou drinkest not; thou drink- 
est not. 
11. a> nu-e-nag amas-7u um-mi-ni- 11. Water thou drinkest not, but 
nag thy sheepfolds drink. 
12. ni-nag-a-7u nN1-nag-a-7U 12. Thoudrinkest not; thoudrinkest 
not. 
13. kaS nu-e-nag u5°-7u um-mu-ni- 13. Beer thou drinkest not, but thy 
nag protégés drink. 
14. gud-dam e" e-sir unug-(k1)-ga-ge 14. Like an ox going forth in the 
Sar-am ma-ra-m1-u-us streets of Erech like a multi- 
tude(?) he pursues thee. 
15. Sar-ra-dm gis-KU-A ma-ra-dir- 15. In multitudes they have taken 
ru-ne-es up their abodes in the habita- 
tions. 
16. mén® a-na-ag-en sal-e md-a ma- 16. As for me what shall I do? | 
an-dug-ga sal-un-ne? mén-ne- who have bestowed care. 
en A sacred devotee I am. | 
17. gud-dam e ib-tag-ra be-in-ra ni- 17. Coming forth like an ox, hasten- 
qu'? e-ne-ib-us ing in destructive fury he came; 
even thee thyself he pursued. 
18. Sar-tr 4 nam-ur-sag-ga-mu su- 18. The Sar-ur weapon, arm of my 
nu-um-ma-tt heroic power I have taken 


not in my hand. 


ee ee 

' Cf. Gudea, St. B 9, 27. 

* Semitic Sattamma a title employed in later times apparently in a secular sense. Originally 
it has a sacred meaning and probably denoted a musical director who was also a priest. The 
application of a priestly title to the king is in accord with his royal prerogatives. 

* The sign is Br. 8899. 

‘For ni=nu, see SBP, 138, 22, ni-kus-1 = nu-kus-; SBH. 70, 3 = 131, 48. Read i? 

® Text GAR! 

® BAD=kidinu, has the value us; cf. u3-sa=kuddinu, Br. 5061. 

‘e is here interpreted as a phonetic variant of UD-DU. Cf. also e-dam in SBP. 118, 39. 

8 This is the first example of this form employed as subject. 


* The text is difficult. UN is certain but the sign SAL is not clear on the tablet. 
* Text SU. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 275 


19. é gallab-ma a-gil-zu'-bi dal-la mi- 19. Of my templein Hallab its treas- 


ni-gi? ures he has hidden far away. 
20. gi3-dal é-an-na pa-ba mi-ni-in- 20. Of the tallu’ of Eanna its PA 
kud he broke off. 
21. gud-dam sil-54 im-ma-na-ra-é 21. Like an ox he came up against 
thee on the highways. 
22. gud-dam e e-sir unu-(ki)-ga-ge 22. Like an ox going forth in the 
Sdr-ra Mu-ni-in-gaz streets of Erech he slaughtered 
multitudes(?). 
23. Sdr-ra gis-K U-A-a-na mu-ni-in- 23. Multitudes in their habitations 
dig he caused to die. 
24. gis-ig kd-gal-la im-ma-an-giir- 24. The doors of the city gate he 
gur shattered. 
25. a-tug'-na-ka im-ma-an-é 25. Her defender he caused to go 
; ? forth, 
26. Su-PES® dumu Su-PES * I nnini- 26. The fisherman, the son fisher- 
ge man of Innini. 
27. Sen-urudu = mu-na-an-bar-ri-ja- 27. [he copper vessels he scattered. 
| dug® 
28. gud-dam ra 1m-ma-an-ra-ag 28. Hastening like an ox he has 
wrought demolition. 
29. gud-dam e er-im-ma-an-sub’ sig- 29. Coming forth like an ox tears he 
sig-ni-ma-mal® has caused to fall and misery 


he caused to be. 


1 Phonetic variant of gil-sa=sukuttu. The prefix a is difficult and probably the noun aug- 
ment, see Sum. Gr. § 148. The vowel a seems to possess another sense in SBP. 284, 1. 

2 gi=pibu, confine, RA. 9, 77 I, 10; note also é-a-dm gi=ina biti pibi, K. 41 Col. II 12. 

2 Part of the door; see VAB. IV Index. 

4 Variant of d-tag=résu. The final ka is for the emphatic ge in the status obliquus (ga). 
This emphatic particle is here attached to the object which is not a construct formation, but the 
choice of ka for ge is probably influenced by the principle of employing the oblique case of the 
construct when the noun in question is in the accusative; see Sum. Gr. § 135. ‘‘Defender”’ refers 
to Tammuz. 

5 The same title in PBS. V 2 Obv. II 23, “Dumu-zi ’u-PES. Poeset interpreted this as a 
variant of Su-ga=ba’iru, fisherman, and his suggestion is probably correct. We have, however, 
to consider the possibility of a confusion with kam=ukkusu, the afflicted, SAI. 5082. 

6 The rise of the semi-vowel 7 between the vowels a-a occurs under similar circumstances in 
igi-ge-ni-ib-ila-ja-diug, RAvAU, Miscellaneous Texts, No. 4, 5. See also Sum. Gr. § 38, 2. The 
form above arose from bar-ri-a-a-dig. The prefixed element dig falls under § 153 of the Grammar. 
bar=sapabu is a variant par, to spread out, scatter. 

7 Sub, to let fall, hence tabaku, to pour out. Heretofore this meaning of Sb was known only 
from the forms al-Sa-%i-be = ittanatbak, SBH. No. 62,15, and forms cited by MEIssNER, SAI. 8345. 
See also ¥u< Sub, ibid., 8334 and al-%u-5u-be, MVAG. 1913 pt. 2 p. 49, 16. 

8 The same passage occurs in Ni. 13856 II 13. ség-sig =Sakummatu, variant of stg-sig. 


276 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


30. *Innini zigi-mu sum-ma-ab 30. Oh Innini, grant me favor. 
31. gud kur-ra ga-mu-ra-ab-sum tur- 31. Oxen of the mountains I will 
gu ga-mu-ra-ab-lu* give thee; thy stables I will 
enrich for thee. 
32. udu _kur-ra_  ga-mu-ra-ab-sum 32. Sheep of the mountains | will 
amas-7u ga-mu-ra-ab-lu give thee; thy sheepfolds I 
will enrich for thee. 
33. azag *Innini-ge mu-na-ni-ib-gi- 33. Holy Innini replied:— 
gi° 
34. a-Sag gallab-(ki)-a dur-gar be-e- 34. “In the plains of Hallab thou 
gar-ra e-ku' ni-nad-ba shalt make thy abode where 


the people repose.” 
35. ama-ba’ gir(?)  ga-ra-ab-tug-e 35. May their hosts attend(?) thee 


balag-al® gu-mu-ra-ab-bi and proclaim to thee on lyre 
and harp(?) 
36. *Innini nam-ur-sag-[7u]" ga-dm- 36. Oh Innini, I will rehearse thy 
dug valor. 
37. zag-sal-zu dug-ga-am 37. It is good to sing thy praise. 
8097 (No. 7) 


LITURGICAL HYMN TO SIN 


This liturgical composition consists of two melodies each 
designated by the rubric sagarram, “‘It is a sagar.’ The entire 
service is sung to the tzg#, a kind of flute. In the first melody 


of fifteen lines the choir chant the glory of the moon god and | 


his city Ur. The second melody of twenty-four lines is appa- 
rently an address of the earth god Enlil to his son the moon god. 
This melody must remain obscure as long as the recurring 
liturgical phrase 4b-mu-ba-¥i-in-dib is unexplained. 


' gig is probably phonetic for Seg=magaru, see Sum. Gr. 258, zig’. 

> lu<lum=davh, dis, passim. 

*Cf. also PBS. V 25 115; Il 13 mu-na-ni-ib-gi-gi. 

*eku<uku by dissimilation of vowels. See also REISNER, SBH. 77, 17. 

* For ama=ummatu, ummandatu, see Sum. Gr. 202, ama? and WEIDNER, Handbuch der 
Babylonischen Astronomie, p. 86, 4. 

6 See, for the musical instrument AL, Sumerian Liturgical Texts, Index, p. 221. 

‘ Text omits 7, which is not on the tablet. 


EE 


vA 


Dts 


Hubbusu, Hubbustu, in Homa, “Personal Names of the Form fu ul,” p. 50. 
The hymn to Sin, SBP. 296, contains in line 14 the same phrase. 


hbabsatum, PBS. V ibid. |. 12. 
If correctly read the signs H4R-GUD=kabattu must be read in 


. lugal-mu 
. ki-mag kt-kal-kal ge-en-na-nam- 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 


Ti Te rb ori ki Bas 


an-sa 
en ud-sud-du-ge uru-ni-ta 


* Zu-en-e kidur' ba-n1-in-gar 
uri-ki uru Sag-gi-pad-da-na 


. @ gud-gim ub-im-me 


sd-rin-na-nt14 


ma-adm 


. *Zu-en-e uru kenag-ga-ni 
. e5 uri-(ki) me-azag-azag-ga .. 


. lugal-mu aaa, 
| |-e nin [ ] gar-ra..... 
. Sa- [gar-| ra- dm 


e©*Nannar[ db -] zu me-a 
mu-'u-lu en * AS-im-iir 


. uru igi-ila é5 Sag [-gal ul- | ti7-a- 


ni-ma 


. Suruppak-gim [nam-gar-|-gud-es 
gal-la-bi 
...7@......4b-mu-ba-51-in-dib 


*-FEyn-lil-lé kalama me-a 
mu-'u-lu en © A¥-lm-iir 


[e dumu| 


1Written KU-KI. 
2 Enlil. 

3 A reading dr-im-me, “‘it is glorified,”’ 
SCharoAsat Obvalt, 

See PBs. Vol. X1f-12. 

OTe. 20554) 73 


ake 


22. 


suggests itself. 


277 


. His city(?) the abode of Ur as a 


name he named. 
As lord unto eternal days in his 
city, 


. The god Sin he? caused to abide. 


In Ur the city which his heart 
has chosen 

The temple like a strong bull 
calls unto the regions(?)3 


. Of my king, may his net(?) 
. Be upon tomb and ruins. 


. Of Sin, may his beloved city, 
. The dwelling-place Ur, 


with 
holy decrees a city... 


. Of my king may his Semel. 
. It is a sagar melody. 
. Hail! Nannar, of the flocks(?) 


thou art ruler, lord ASimur. 


. In my city of the lifting of the 


eyes, the home of his own 
abode, which is his fulness of 
luxury, 


. Whose design is like Suruppak, 


.| have caused him to 
Bue: a shepherd (?) 
(Hail! son] of Enlil, in the Land 
he is ruler, lord ASimur. 


Cf. also CT. 16, 44, 80 KU-KI-gar-ra-bi=1ina aSabi-su. 


Cf. SBH. 93, 1 


7 ul-ti=hubusu, “the lusty man,’”’ PoEBEL, PBS. V 136 V 13, with which compare n. pra. 


8 Text not entirely certain. 


SBP. 48, 45 after the variant SBH. 3, 10. 


Note also ul-ti-a= 


278 


24. 


25. 


Q. 


10. 


[uru igi-| ila éS-Sag-gal ul-|ti|-a-nt 
-ma 


11-12. lugal tur-azag-ga ab-zu me-a 


13. 


mu-u-lu sul-pa munsub-nun-na 


Sag-tum-ma bara Sa mu-un-di 
es-e uri-(k1)-mu-|[ S| 


24. 


[Xuruppak|-gim nam-gar-gud-le] 25. 
gal-la-bi 

REVERSE 

af db-mu-ba-| Si-in-dib I 

. [dumu-sag “En-lil-ld kalama 2 
me-a| mu-u-lu en © AS-im-iir 

. [ud-|-dug-ga [ki-gar-ra mu-Su ga] 4 
-sa-a 

_* 4$-im-liir — $ag|-gi-pad-da-mu 5 

_ é-mud-|kur-ra-mu|! db-mu-ba-31- 6 
in-dib 

_ dumu-sag * En-lil-l4 kalama me-a 7 
mu- u-lu 

. ud-dug-ga®-ki-gar-ra mu-[Su] ga- 8 
sa-a 

4. 4%-im-iir me-en ki [Sag]-gi-pad- QO. 
da-mu 

é-mud-kur-ra-mu ab-|mu-ba)-51- 10. 
inm- dib 


UNIVERSITY MUSEUM—BABYLONIAN SECTION 


Into my city of the lifting of the 
eyes, the home of his own 
abode, which is his fulness of 
luxury, é 

Whose design is like Suruppak, 


Tea .....] have caused him 


| to be a shepherd(?) 


. [First son of Enlil, in the Land 


he is] ruler, lord ASimur, 


. [He that institutes battle” |] 


as a name | name. 


. ASimur the........whom my 


heart has chosen, 


_ In Emudkurramu | caused to be 


a shepherd(?). 


. First son of Enlil, in the Land 


he is ruler. 


. “He that institutes battle” as 


a name | name. 
ASimur thou art; 

heart has chosen, 
In Emudkurramu I have caused 

thee to be a shepherd(?). 


where my 


11-12. Lord of the clean sheepfolds, 


13. 


ruler of the flocks is he, the 
glorious(?) hero, far famed 
shepherd. 

In the meadow a sanctuary | 
have built; in the abode of 
my city Ur, 


Texts, 11, 1 which has RJ not MU. The end of the name is broken in BL. No. 27. 


Restored from line 10. The only previous occurrence of this name is in SM1TH’s Miscellaneous 


SMITH copied the sign wrongly. 


* Pronounced udugga = saltu. 


Perhaps 


OO OE EE a a 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 279 

14. é-Sdg-nam-sar kur Dilmun-na 14. In the temple Sagnamsar! which 
| nam is in the mount of Dilmun, 

15. é-gi-azag-bi-a ab mu-ba-Si-in-dib 15. In the temple of the holy stylus 

a shepherd I caused him to 
be(?) ' 

16. dumu-sag * En-lil-lé kalama me-a 16. First son of Enlil, in the Land 
mu-u-lu Sul-pa munsub nun- ° | he is ruler, glorious(?) hero, 
na far famed shepherd. 

18. Sag-tum-ma bara Sa-mu-un-dii 18. In the meadow a sanctuary | 

éS-e uri-ki-mu-su built; in the abode of my 
city Ur, 

19. é-Sdg-nam-sar kur Dilmun-na 19. In the temple Sagnamsar which 

nam is in the mount of Dilmun, 

20. é-gi-azag-bi-a db-mu-ba-s1-in-dib 20. In the temple of the holy stylus 

a shepherd I have caused him 
to be(?) 

21. sa-gar- ra- am 21. It is a sagar melody. 

22. nar-balag? *Zu-en-na 22. Song on the flute to Sin. 


7080 (No. 11) 
LAMENTATION ON THE DESTRUCTION OF UR 


The fragment Ni. 7080 carries the right half of one of the 
largest literary tablets in the Museum. Broken evenly at the 
center from top to bottom the right half of this tablet preserves 
part of Col. III and all of Cols. IV, V of the obverse. The reverse 
correspondingly contains Cols. I, I] and half of Col. III. Like 
so many similar liturgical compositions of the period of Ur this 
lamentation is divided into a series of kiSubs or songs, here of 
unusually great length. The third song ends at Obv. III 38; 


1 The name as transliterated means mudammtk musarré, “Temple of the benefactor of writ- 
ing.” In line 15 its holy reed is mentioned, a mythical stylus symbolic of the god of wisdom, 
Enki, according to SAK. 6h. 

2 nar-balag=tigh, a kind of flute. Here the word indicates that in che musical accompaniment 
this instrument was employed. It probably denotes a specific kind of melody. Three other 
musical instruments have given their names to classes of melodies, the ersemma, balag and me-7i, 


see SBP. page IX, and BL. page XX XVIII. 


280 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


its first line stood in Obv. II, which has been lost. The fourth 
song began at Obv. III 42 and ends at Obv. IV 23, containing 
thirty-four lines. The fifth song begins at Obv. 1V 27 and ends 
at Obv. V 7, containing forty-seven lines. In the following pages 
will be found a translation of twenty-three lines of the end of the 
fourth song which describes the wrathful word of the gods Anu 
and Enlil. The fifth song, a remarkable ode to the wrathful 
word of Enlil, has been translated so far as the text permits. 

The sixth song begins at Obv. V 1 1,and probably terminated 
in the broken passage at the top of Rev. I. Its length was also 
unusual, having at least forty-five lines. This song was edited 
on a small tablet Ni. 4584 on which the beginning and the end 
of the section are preserved. It has been published as No. 10 
in Sumerian Liturgical Texts, Vol. X of the Publications of the 
Babylonian Section. Only a few lines at the commencement of 
this song have been translated here. From this potnt onward 
the language of the liturgy presents such difficulty that the 
writer has been unable to offer a translation. 

Section seven probably ended at the top of Rev. II and 
refers throughout to the mother goddess who weeps over the 
ruins of Ur. The eighth song probably began at the top of 
Rev. II] and ended perhaps at the top of Rev. III. It is another 
doleful ode to the weeping mother and many of its lines are 
clear and translatable. The entire song is marked by sorrowful 
refrains: me-li-e-a uru-mu nu-me-a, Oh woe is me, my city is. 
no more. a-uru-mu im-me, How long? oh my city I cry.’ 
me-li-e-a uru-la é-a-mén, Oh woe is me, from the city I depart. 
dingir ga-Sa-an-gal-mén é-ta é-a-mén, Great divine queen am I, 


1 Rev. II 22. 
2 Rev. II 19. 
> Rev. II 29. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 281 


from the temple | depart. er-gig ni-Sés-5é¥, She weeps 
bitterly.’ 

Only the ends of lines of a large part of the ninth song are 
preserved in Rev. III. The tenth song probably occupied most 
of the space in Rev. IV. Speculation concerning the number of 
songs in the entire liturgy is limited to the number of about 11-13. 
The liturgy was, therefore, extremely long, attaining to a content 
of about 500 lines. We know from the single tablet variant of the 
sixth song that another edition of this series existed in which 
small tablets carried each a single kzSub. A similar condition of 
editorial redaction 1s revealed by ZIMMERN, KL. 200, a small 
tablet which contains the twelfth song of a liturgy to the deified 
king of Isin, ISme-Dagan. 

The historical event referred to in this liturgy is undoubtedly 
the destruction of Ur in the time of Ibi-Sin, last of the kings of the 
Ur dynasty. This calamity left many traces in the temple songs 
of Sumer, and the Sumerian prayer books of Nippur contain 
other lamentations on the fall of Ur, written perhaps during the 
Isin period. The writer has already published a single column 
tablet which rehearses the same catastrophe, mentioning [bi-Sin 
himself and naming the Elamites as his captors.? 


OBVERSE IV 


1. an-ni e-ne-em-bh1 ba-ra-mu-un-gur 1. Anu may prevent his word. 
2. *Mu-ul-lil-e ni*-Sdg ge-dm-bi 2. Enlil may order kindness. 
a3 Sag-mu. ba-ra-be-in-Sed-d1 3. And may my heart be at peace 


from sorrow. 


1 Rev. II 3a. 

2 Rev. [1 37:41. Cf. er-gig mu-un-5é5-5é5, ZIMMERN, KL. 25 bas 
3 See Historical and Religious Texts 5-8. 

‘nig>n1. 


21. 


22. 


UNIVERSITY MUSEUM—BABYLONIAN SECTION 


[ -|su-ud arad-na sag ki- 
ba-da-ab-gal-la 

[ |-nae-ne-em-sur-ra gur- 
da-bi 

[ | ba-da-an-dir-ru-ne- 
es-a 

. tur-ge-im-ma-gid-gid-da_ —_ge-1m- 
ma-lal-la 


_ an-ra a-i-ne-ma me-e ge-1m-ma- 


na-dig 
*Mu-ul-lil-ra ni-mu Sag-ne-du 
ge-1m-ma-ag 


. uru-mu nam-ma-gul-lu ge-1m-me- 


ne-dng 


. Uri-(ki) nam-ma-gul-lu ge-1m- 


me-ne-dug 


. uku-bi nam-ma-bir(?)-e ge-im- 


me-ne-dug' 


. an-ni_ e-ne-em-bi_ ba-ra-mu-un- 
gur 
* Mu-ul-lil-e ni-Sdg ge-dm- bi 


Sag-mu. ba-ra-be-in-Sed-di 


. uru-mu gul-gul-lu-ba-da-bi ge-im- 


ma-an-?-es 
Uri-(ki) gul-gul-lu-ba-da-bi ge- 
im-ma-an-?-e§ 


. uku-bi dig gi-bil-Su ag-bi ga-ba- 


an-tar-ri-e§ 


. me-e nig-dig-mu mu-ne-sum-ma- 


gims 


. me-e uru-mu-da ge-en-bi mu-un- 


da-lal-e§ 


Uri-(kt) mu-durun-da ge-en-bi 
mu-(un)-da-lal-e-e§ 

an-ni |dig-ga-ni gur| nu-kuir-ru- 
dam 


4. 


5. 
6. 


20. 


21. 


22. 


[ | the angry word be 
prevented. 


. The foundations it has anni- 


hilated, and reduced to the 
misery of silence. 


. Unto Anu | will cry my “how 


long?” 


. Unto Enlil I myself will pray. 


. “My city has been destroyed” 


will I tell them. 


. “Ur has been destroyed” will 


I tell them. 


. “Its people have been scattered” 


will I tell them. 


. May Anu prevent his word. 


. May Enlil order kindness. 
. And may my heart be at peace 


from sorrow. 


. My city which has been de- 


stroyed may they.. 


. Ur which has been dese 


may they.. 


. Of its slain conics ER they 


decree a new dispensation.? 


. | will offer my meditations unto 


them. 

I (will say to them): “In my 
city they have despised the . 
splendor.” 

“In Ur the city of homes they 
- have despised the splendor.” 
Anu whose words in this man- 

ner change not. 


? Literally, “decree again their oracle.” 
3 gim, emphatic suffix, 


* Lines 50-54 on Col. III may be restored from lines 8-12. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 283 


23. *Mu-ul-lil-e enim-bi e-a-ni...: 23. Enlil the going forth of whose 
...e-dam WOT neat 
ce a ae i a A 
24. ki-Sub-gi —4-kam-ma-dm 24. It is the fourth song. 
25. uru-nt ba-da-gul-am me-ni ba- 25. Her city has been destroyed, 
da-kir-am her ordinances have been 
| changed. 
26. gis-gi- gal-bi- im 26. This is its antiphon. 

27. * En-lil-li ud-de git-ba-an-de 27. Enlil utters the spirit of wrath 

28. uku-e Se-am-sd 28. and the people wail. 
29. ud ge-gal-la kalama-da ba-da-an- 29. The spirit of wrath prosperity 
: kar from the Land has destroyed 

30. uku-e Se- am- Sa 30. and the people wail. 
31. ud dug K1i-en-gi-da ba-da-an-kar 31. The spirit of wrath peace from 
uku-e Se-am- Sa Sumer has taken and the 

people wail. 
32. ud gul-gal-e a-ba-da-an-dg uku-e 32. He has sent the evil spirit of 
Se-dm-Sa wrath and the people wail. 

33. kin-gal-ud-da ud-da-gub-ba Su-na 33. The “Messenger of Wrath,” 
1m-ma-an-Sig the “Assisting Spirit” into 


its hand he entrusted.! 
34. ud_ kalam-til-til-e gi-ba-an-de 34. He has uttered the spirit of 
uku-e Se-am-Sa wrath which exterminates the 
Land and the people wail. 
35. * En-lil-li * Gi-bil d-tag-a ki-mu- 35. Enlil bas sent Gibil as its helper. 


na-ni-in-| | 
36. ud-gal an-na-ge git-ba-an-de uku- 36. The great spirit of Heaven has 
e Se-am-Sa ' been uttered and the people 
wail. 
37. ud-gal-e? an-ta gu-ni-ib-1m-me 37. The mighty spirit on high he 
uku-e Se-am-Sa commanded forth and the 


people wail. 
a a a EEE 
1 We meet here for the first time with two avenging angels or genii who attend the Word in its 
exécution of the wrath of god. Kingaludda is mentioned as one of four evil spirits zl limmu in 
CT. 25, 22, 44. He is mentioned with the 7 bird and the demon ‘édu as appearing in dream 
omens, BorssiER, DA. 207, 34. See also BorssiER, Choix, I1 53, 4. On uddugub as a title of 


kings'see BE. 31,22 nv 9: NS, 
2 The ud-gal is regarded as plural=aimu rabit: and identified with the evil spirits of incanta- 


tions, CT. 16, 22, 266 and 276. In the Epic of Creation the “great spirit of wrath” is one of the 
demons attendant upon Tiamat. 


~I 


UNIVERSITY MUSEUM—BABYLONIAN SECTION 


ud kalam til-til-e agag ki...... 
. im-gul-e a-mag-e-a-gim......-. 
. gis-dtir! uru-ge sag-gaz n1-ag.... 


_ an-na tr-ba 2? mu-un-nigin..... 
. ud-da 1gi-ba-ne Mu-UN-Ne-Ne .. . . 
_ bar-bar-ri ne-gig-edin-na tur(?) .. 
4. an-ne-bar-dm ne-gur-gur....... 
_an-neéUD-UD é...... 


). kalam-ma lag-lag-ga.......... 


38. The spirit that annihilates the 
Land. feat 

39. The evil storm like a mountine 
inundation . ; 

40. The shepherd i the city it Gi 


41. Of een i foundation it... 
42. 
43. 
44. 


45. 
46. 


(Lines 47-55 mostly illegible.) 


GOs 


(Lines 1-6 mostly illegible.) 


. Uri-(k1)-ma tug-gim_ ba-e-gul 


..gim ba-e-bur 


. ki-Sub-gi 5-kam-ma-am 
. ud ug(?)-am al-| juku-e 


Se-am-s4 


Se gi- gal -bi- im 


. ud-ba ud uru-da ba-da-an-gar 


UTM SS ee 


_ a-a® Nannar uru dim-dial-dil-da 


ba-da-an-| \uku-e Se- 
am-sa 


13. ud-ba ud kalama-ta ba-da-an-kdr 


PBS. 


uku-e Se-adm-Sa 


+See PBS. X 161;°13. 


7. Ur like a garment thou hast 
destroyed, hike avs thou 
hast scattered. 


8. It is the fifth song. 

9. The spirit of wrath like a lion 
..and the people lament. 

10. This 1s its antiphon. 


11. At that time the spirit of wrath 
upon the city was wrought 


and the city.. oh ee 
12. Father Nannar isi ‘ite Ae OF 
master workmen.......and 


the people wail. 

13. At that time the spirit of wrath 
descended upon the Land and 
the people wail. 


ape ; : at a ; 
he traces on Ni. 7080 are against the restoration Se-am-$d. Lines 1 I-19 are restored from 


X No. to. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 285 


14. uku-bi Sika-kud-da |nu-me-a bar- 14. Her people without water jars 
ba ba-e-si| sit without her in desolation 
15. bad-ba gu [P|-nin [kaskala im- 15. Within her......in the ways 
ma-an-gar-gar uku-e Se-am-Sd| are placed and the people 
wail. 
16. ka-gal-mag_  gir-gal-la-[ba_ ad-a 16. The great city gate and the 
im-ma-| an [BAD] | highways with the dead are 
choked up. 
17. dukr-tun-sir-gim dit-a-ba [sag- 17. Like a leather vessel all of her 
bal-e] ba-ab- gar the usurper cast asunder(?) 
tee | ] e-sir gir-gal-la-ba ad 18. In her......streets and roads 
1m-ma-an-gar-gar corpses he heaped up(?) 


36056 (Myhrman No. 5) 
LITURGICAL HYMNS OF THE TAMMUZ CULT 


The obverse of this fine single column tablet contained a 
hymn in thirty-eight lines to the departed Tammuz. It repre- 
sents the people wailing for the lord of life who now sleeps in 
the lower world. Thirteen lines have been completely broken 
away from the top. The reverse carried a long liturgical song 
of the cult of this god in which the mother goddess 1s represented 
wailing for her ravished lover. Songs of the weeping mother are 
common enough in these wailings for Tammuz, but all other 
known examples of this motif represent the major unmarried 
type of mother goddess Innini-Ishtar wandering on earth, crying 
for her departed son. The hymn on our tablet reveals in a 
wholly unexpected manner the close relation between the mother 
goddess Gula of Isin and Innini. It was known that both sprang 
from a common source, a prehistoric unmarried goddess, but one 
had hardly supposed that the liturgists went so far as to intro- 


1 pire Variant gu-nin! 


286 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


duce the married goddess of Isin in the réle of the virgin mother 
Innini. The great mother divinity of Isin, although attached ina 
loose way to a male consort Ninurta, in that city retained, never- 
theless, much of her ancient unattached character. In the 
standard liturgies she is almost invariably the type of weeping 
mother, whereas Innini is this type in the Tammuz liturgies. 
Since Gula of Isin was the ordinary liturgical type we find the 
influence of the ordinary liturgies effective in the composition 
of the Tammuz hymn. It explains the extraordinary phenome- 
non of the introduction of a long passage (Rev. 3-10) from one 
of the wailing liturgies. And the short litany refrain lines 11-20 
is obviously an imitation of numberless similar passages of the 
ordinary liturgies in which the goddess wails for various temples; 
here only for Nippur and Isin, since the composition was written 
for the services at Nippur in the period of the Isin dynasty. 
In a most gratifying manner our tablet shows how the lamenta- 
tions of the mother goddess in the canonical prayer books express 
sorrows for certain concrete misfortunes and certain defined 
temples and cities and find their general expression in the lamen- 
tations for Tammuz, the representative of all human vicissitudes. 
This edition has been made from my own copy. The tablet was 
first published by MyHrMAN, PBS. Vol. I No. 5, and by RapAu, 
BE. 30 No. 2. To these copies I have been able to make only 
slight additions. | 


HYMNS OF THE TAMMUZ CULT 


1. KU-? | | ie 
2. kalag gis | ] 2. Oh strong one [ | 
3. me-ri kus-n1-[7u! | 3. Thy weary foot [ ] 


a 8 
1 Cf. RA. 12, 37, 1. 


STEPHEN LANGDON——-SUMERIAN LITURGIES AND PSALMS 287 


4. G-lirum-Su'-[kus-u-7u.........| 4. Thy wearyarms—breast—hands 
| 
5. a-zu>-gurus a-7u | laa 5 2D strong healer-oue. healer 
| 
6. kalag *Da-mu-mu [ | 6. Oh strong one, my Damu[ | 
7. tu-mu u-mu-un mu-zi-da {| | _ 7. Oh child, lord GiSzida [ | 
8. a-quadam.......ni-kus-u-a-7Uu 8. Oh healer, how long husband 
..... Wilt thou be weary? 
Q. a-7u a tu-mu........ni-kus-tt- 9: Oh; healer” how ‘long. son....... 
a-7u wilt thou be weary? 
10. 7-dé (?)....tu-ru ? [nar] zu-dé 10. When before............thou 
sittest, 
11. kalag da-ga-dm-ma'’-n1.. . .7u-dé 11. Oh strong one, when znto his 
PES CIOL VA NOU: su tereiecarene ae eons 
12. a-rib* Su-si me-ri.... . .a-bal-ma 12. Alas he whose fingers and feet 
na-nam [are bound], my irrigator® is 
he. 
13. Sag-zu-%u la-ag-|la-ag-|gu-a-7u 13. Because of thee she wanders far 
for thee. 
14. kalag *Da-mu-mu a-bal-ma na- 14. My sturdy Damu, my irrigator 
nam is he. 
15. ama-zu mu-lu er-ri nu-kus-u 15. Thy mother she of lamentation 
rests not. 
16. ama_ ga-Xa-an tin-dib-ba tub-bi- 16. The mother, queen who gives 
su nu-durun life to the afflicted, tarries 
not to repose. 
17. u-Sub-ba-7a u-Zi-ga-a_ sir-ri-sn 17. In thy perdition, in thy seizure, 
na-ri-bi in melodious sighing she 
speaks of thee. 
18. kalag a-rin-na-7a u(?) a-tar-ra-7a 18. Oh hero, in thy contumely, in 
sir-ri-su na-ri-b1 thy removal, in melodious 


sighing she speaks of thee. 


ene eer ee 
1So from my copy and CT. IV 4b 12=Babylonzaca, Liber. 

2 For this title of Tammuz, see Tammuz and Ishtar, 34. 

3 Probably for dagan=pubru, RA. 11, 144, 8 See also dakan, divine abode, DELITzSCH, 
Glossar, 132. 

Ae eos e304, 132" 

5 Title of Tammuz as spirit of the waters, see Tammuz and Ishtar, pp. 6 and 44. a-bal= 
tabik mé, pourer of water, irrigator, is the original idea of this ideogram. For the title galu-a-bal 
in this sense, see CT. 13, 42, 7 ff. Ak-ki galu abal, the gardener who cared for Sargon. See also 
THUREAU-DANGIN, Lettres et Contrats, No. 174, 6-8, galu a-bal, a kind of laborer. The later 
usage of the word as libator of water for the souls of the dead, Semitic nak mé is a strictly conven- 
tional development, see Babyloniaca, V1 208. 


288 


UNIVERSITY MUSEUM—BABYLONIAN SECTION 


19. ama-ugu-mu GAR-LUL-LUL- 19. My child-bearing mother, my 
na-mu sir-ri-su nu-us ma-gub- lamenter(?) with melodious 
bi sighing behold she stands 

20. kalagidim-[ma me-|en galu-kur-al 20. Oh sturdy one, prostrate thou 

art, a man of the land of 
wailing(?)! 

21. en........me-en galu-kur-dim? 21, Oh “lord, ye ey ethoused teamed 

man of the land of lament. 

22. unu-|dagal-mu]| kur-idim-ma-mu 22. In my vast chamber, in my land 

of misery, 

23. en me-en a-ra-li ki-sag kirud-da- 23. A lord am I. In Aralu, place 

mu where I am cast away, 

24. kalag me-en kur-ri-sud-du-Sh im- 24; A Jdaborerame len 2 Untomtne 

ma-ab-du me-en faraway land | go. 

25 ud-me-e-na® ni- ? ?P 25. Daily(?) he [sorrows ?|4 

REVERSE 
1. Sa-ab-er-ri® kuS-it-a-mu ma-a-a 1. | weary with heart woe, where 
nad-da-|mu| shall I rest? 

2. balag-di Sda-ab-er-ri kuS-u-a-mu 2. Oh sing to the lyre; I weary 


ma-a-a nad-da-|mu|] 


with heart woe, where shall | 
rest? 


3. ama uru-sag ga-sa-an tin-dib-ba 3. Mother of the chief city,® queen 
men who gives life to the dead am 
Ih 
4. sag-tu-an-na_ ga-Sa-an__I-si-in- 4. First born daughter of heaven,? 
(k1)-na mén queen of [sin am I. 
5. tu-mu é-a ga-Sa-an-mu * Gu-nu- 5. Daughter of the temple, Queen 
ra Gunura. 
6. tum-lu-azag ama é-%ab-ba mén 6. Holy tumlu mother of ESabba 


alriais 


‘al as synonym of DE (in line 21) is probably a variant of ilu=nagt. 

2 Sign DE. 

* This line is connected with the classical interlude ma-a-bi ud-me-na-gim etc. discussed in 
SBP. 185 n. ro. and BL, XLIX. ; 

* Below the double line the figure 38, i.e. 38 lines on the obverse. Thirteen lines have been 
broken from the top. 

* Cf. ZIMMERN, K.L., 25 II 42. 

® |. e. Isin. 

"On this title see BL. 143. 

* Probably an error. Omitted in translation. 


Se 


. 
Y 


10. 


wis 


22. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 289 


. + En-d-nun' ama git-an-ni-si men 


. ga-Sa-an nigin-mar-ra ki-azag-ga 


men 


. ga-Sa-an as-te’.. . ga-Sa-an La-ra- 


ak-(ki) mén 
ama é-a* Asnan “ Azag-sud mén 


* 


vy . vy. . i VEEN 
A $a-ab-er-ri a-Se-tr-ri ma-a kus-u- 


Mu 


. er é-kur-ra-ge ma-a kus-i-mu 


. er kenur-ra-ge ma-a kus-u-mu 


er du-azag-ga-ge ma-a kus-u-mu 


. er é-dim-ma’-ge ma-a kus-u-mu 


er uru-sag-ga-ge ma-a kus-u-mu 


. er tir-azag-ga'-ge ma-a kus-u-mu 


. er I-si-in-(k1)-na-ge ma-a kus-u- 


mu 
er 6-gal-mag-a-ge ma-a kus-u-mu 


. er La-ra-ak-(ki)-a-ge ma-a kus- 


u-[mu ma-a na|-d-da-b1 


i 


$a-ab dam-e-mu Sa-ab [tu-mu-|® 
mu 
[.......] ki-el-la $ab mu-ud-na- 
mu 


22. 


. Enanun mother of lamentation 


ariel 
Queen of Niginmarra,? the holy 
place, am I. 


. Queen of ASte,* queen of Larak. 


. Mother of the temple, ASnan 


the divine lustrator® am |. 


. Weeping and sighing where shall 


I find rest? 


. Weeping for Ekur, where shall | 


repose? 


. Weeping for Kenur, where shall 


I repose? 


. Weeping for Duazagga, where 


shall I repose? 


. Weeping for the “ House of the 


King,” where shall I reposer 


. Weeping for the chief city, 


where shall | reposer 
Weeping for the sacred forest, 
where shall I reposer 


. Weeping for Isin, where shall | 


repose? 

Weeping for Egalmah, where 
shall | repose? 

Weeping for Larak, where shall 
I repose, where shall he rest? 


. The ravished one my husband, 


the ravished one, my son, 
[In......] the clean place, the 
ravished one my spouse, 


a 
1On this line, see the commentary in Sumerian Liturgical Texts 173 note 3. 


2 Temple in Isin-Suruppak. Suruppak must have been a quarter of the later and more 


famous Isin. Note that this temple is assigned to Suruppak in PoesBet, PBS. V 157, 7. The 
liturgies, however, constantly place Niginmar at Isin. 


vided for the king. See also SBP. 292, 14; KL. 25 111. 
7 Probably name of a sacred park at Isin. It contained a chapel, é-t1r-azag-ga, 


3 | see traces of a sign after fe. 


4 Temple in Larak, a quarter of Isin. See SBP. 160 Nn. 7. 
5 azag-sug title of the deities of lustration A&nan, Nidaba and Gibil. 
6 Rendered bit ¥arru, V Raw. 16, 52, probably a royal chapel or room in Ekur especially pro- 


8 For the restoration, cf. RA. 12, 34, 9. 


Ki asih a2: 


290 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


23. tu-mu-tir tu-[mu | 23. ie little son, ee alten Se SON 
24. ga-sa-an [ | 24. 
25. Sda-ab [ | 25. 
26. AN-NE | | 20. 
27. sukkal | | 27 ae . ib 
L. E. a-Sab-ba-ni a-ba-bar-ra-ni L. E. How long his ravishing? 


how long his absencer? * 


A Liturcy To ENLIL, SERIES e-lum gud-sun 
(Zimmern KL. No. 11) 


The history of the text of this long and intricate Enlil liturgy 
elucidates in unusual manner the evolution of Sumerian prayer 
books until they attained canonical and permanent form. The 
earliest text of this liturgy is partially preserved on the Tablet 
Virolleaud published in the Revue d’Assyriologie, Vol. XVI. The 
fragment was brought to Europe in 1909 by the assyriologist 
CHARLES VIROLLEAUD, having been purchased by him during his 
excavations In Persia. It is light brown and varies from the center 
to the edge by two inches to one inch in thickness. The fragment 
is from the upper left corner of a large three(?): column tablet. 
About half of the first melody is preserved on the obverse. The 
reverse preserves the last two melodies. From their rubrics we 
learn that the entire series contained eleven sections. This tablet 
has the rubric ki-Sub-ga after each strophe. The titular litany® 
occupies as usual the next to the last place but only the opening 
lines giving the motif and a few titles are given. The redactor 


indicates the remaining titles by a rubric “(Recite the title) of a 
ee ee 
' The edge has the figure 48 which indicates the number of lines on the reverse and left edge. 
* See also the same idea in SBP. 312, 12 and KL. a5 hate 
* Concerning the titular litanies, see PBS. X 156, 1°73, etc. 


——s ss er 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 291 


god until they are finished.” The rubric is in Semitic which 
shows that the redaction was done by Semitic scholars. 

The series as it finally issued from the hands of the liturgists 
in the Isin period was written upon a huge five(?) column tablet, 
the lower half of which has been published by ZimMMERN, Alt- 
sumerische Kultlieder, No. 11. Each column contained about 
fifty lines. There are no gi5-gi-gal or antiphons after the melo- 
dies, ten of which I have been able to restore. By borrowing 
from old songs and other liturgies the redactors have greatly 
increased the length of this service. At least ten songs have 
been lost on Cols. III, IV of the obverse and I, II of the reverse. 

The late Assyrian redaction is mentioned in the catalogue 
of prayer books IV Raw. 53 I 13 and in BL. No. 103 Obv. 13. 
SBH. No. 21, edited in SBP. 112-110, is tablet one of the late 
Babylonian School! and contains the first four songs, duplicates of 
the first four on K.L. 11. SBH. No. 25, edited in SBP. 120-123,’ 
carries on the obverse two songs (e-lum di-da-ra and me-e ur-ri 
men) found on Col. III of K.L. No. 11, Rev., or the two last 
melodies before the titular litany. A fragment published by 
MEEK in BA. X pt. 1, No. 11, contains the end of e-lum d1-da-ra 
and all of me-e ur-rit men. SBH. 25 and Meek No. 11 belong 
to the series e-lum di-da-ra, entered in the Assyrian catalogue, 
IV Raw. 53a 8, and form tablet one of that service. 

The titular litany of the e-lum gud-sun series is identical 
(except for some variants) with the famous titular litany of the 
mother goddess series mu-ten NU-NUNUZ gim-ma, tablet five, 
edited in SBP. 149-167. Portions of the titular litany of the 
Enlil series have been edited in PBS. X 155-167, see pages 
163-4. The titular litany of mi-ma-al git-de-de occurs at the end 


ns 
1 Erroneously designated the fourth tablet of ame baranara in SBP. 
2 Erroneously assigned to ame baranara in SBP. 


292 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


of tablet two of that series, SBP. 24-9 =BL. 72-3. Not every 
series has a theological litany of this kind, which ordinarily 
comes before the er-Xem-ma, or intercessional song at the end. 
The song to the ‘‘word,” which occurs in all series, is partially 
preserved on Obv. III and begins a-ma-ru na-nam. The indis- 
pensable song to the weeping mother comes just before the 
titular litany. This little nine-line melody me-e ur-ri-mén me-e 
kas-méen must have been a national religious song. It was copied 
into another Enlil song service as we have seen. [he same song 
introduces tablet four of an Innini series of which we have only 
the end of tablet three, K. 2750, in BL. 93 f. 

Finally the reader will note that the first song e-lum gud-sun 
of this series has been copied into one of the tablets of ame 
baranara, SBH. No. 22=SBP. 126 f. A fragment of some 
unknown series, K. 8603 = BL. 14 also employs this song in the 
body of its text. 


1. e-lum gud-sun mu-zu kur-kur-3 1. Exalted one, bull that over- 
whelms, thy name is on the 
lands. 

2. u-mu-un-e? kur-kur-ra_ gud-sun 2. Lord of the lands, bull that over- 
whelms, thy name, etc.’ 

3. u-mu-un dig-ga-zi-da gud-sun 3. Lord of the faithful word, bull 
that overwhelms, etc. 

4. * Mu-ul-lil a-a ka-na-dg'-ga gud- 4. Enlil, father of the Land, bull 

SUN that overwhelms, etc. 

5. sib sag-gig-ga gud-sun 5. Shepherd of the dark-headed 
people, bull that overwhelms, 
etc} 

6. 1-dé-dug ni-te-na gud-sun 6. Thou of self-created vision, bull 


that overwhelms, etc. 
ee Ee ee eee 
' The text of lines 1-25 is taken from Tablet Virolleaud, now Collection Nies, No 1315 
* SBP. 112 and 126 have umun, et passim. 


* SBH. 42 has an inserted line between Il. 1-2. See SBP. 112 
*Vars. nag. 


. e-lum.. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 293 


am GIR'-na sd-sd gud-sun 


. U-lul-la ku-ku? gud-sun mu-zu 


kur-kur-$% 


. mu-7u kur-ra mu-ma-al-la-$% an 


ni-bi nam-dub 


ki ni-bi nam-sig 


. + Mu-ul-lil e-ne-em-{u kur-ra- 


am ma-ma-al-la-*i 


. dug-ga-7u kur-ra-dm ma-ma-al- 


la-*n 


. dag-a-zu kur-ra-4m ma-ma-al-la- 


ve, 
SU 


. an ni dub sigt ki ni-bi nam-sig 


. ama |nu|)>-gig-gt ama nu-bar-ra 


dumu-ni mi-ni-in-gi-gi 
..ga-Sa-an uru bar-ra-ra 
dumu-ni mi-ni-in-gi-gi 
..dumu-ni mi-ni-in-gi-gi 

. .e-ne-em-7Uu-sh. . . 
kur-ri nt1-in-gi-gi 


4-Mu-ul-lil mu-lu? A........ 
kur-ri ni-in-gi-[gi] 


. e-lum 7a-e e-ne-em-7u an-e um- 


ma-|dig| 
an-e ib-[ ] 


. © Mu-ul-lil za-e e-ne-em-zu ki-e 


um-|ma-dug| 


1 Uncertain. Apparently REC. 225. 


read erin-na=ummani-Su, BL. 111, 16. 


*See Yale Vocabulary 135. 


7° 


8. 


Zils 


pit 
27% 


; Oh me iteae 


Wild bull who directs his hosts, 
bull that overwhelms, etc. 
Thou that sleepest the sleep of 
perversity, bull that over- 
whelms, thy name is on the 

lands. 

When thy name is laid upon the 
lands the heavens tremble of 
themselves, 
and the earth quakes of itself. 


. Oh Enlil, when thy word is laid 


upon the lands, 


. When thy command is laid upon 


the lands, 


. When thy command’ is laid upon 


the lands, 


. The heavens tremble of them- 


selves, the earth of itself 


quakes, 


. The harlot mother, the hiero- 


dule mother slays her son, 
..queen of the city, outside 

the city slays her son. 

.Slays her son. 

..at thy word.. 

the forelen land thou reducest 

to the misery of silence. 


. Enlil lord of .. sete ee 
. the foreign bet whan “Nbvay to 


the misery of silence 
Oh exalted one, as for thee, thy 
word in heaven speak 
and heaven shall... 
Enlil, as for thee, thy word on 
earth speak 


Elsewhere in this passage always $AB which has been 


3 On this passage see PBS. X 170, 13 and Ni. 15204, 8 of this volume. 


4Sic! Error for ni-bi-dib. 


5 Omitted by the scribe. Line restored from Ni. 15204, 11. 
6 With line 19 the variant SBH. 42 lower fragment begins. 


204 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


24. ki nu-um-| | 24. and earth shall Ot eee 

25. dim-me-ir a-tu-a' um-ma-dug 25. God of libation speak [and 
heaven shall....and earth 
shallots] 

26. “am an-ki am uru 7i-ba-ge um- 26. Divine wild ox of heaven and 

ma-dug[......-+] earth, wild ox of the good 
city? speak, etc. 

27. ama é-mag-a’* [Dam-gal-nun-na- 27. Mother of the house of the 

ge] famous one, Damgalnunna, 

28. um-ma-dug [......-] 28. speak, etc. 

29. © Asar-lit-dug-e |dumu uru 7i-ba- 29. Marduk, son of the good city* 

gel 

30. um-ma-dig [........] 30. speak, etc. 

31. “id ama uru 7i-ba-ge um-[ma 31. River goddess, mother of the 

Uo ene good city speak, etc. 

32. ¢A-?%-e ga-Sa-[an ab-su-ra-ka-d1' 32. Zarpanit queenof... .. ..speak, 

um-ma-dug... .. | etc. 

33. [sukkal-zid  mu-dug-ga]-sa-a-ra 33. Faithful messenger, called by a 

um-ma'" good name, speak, etc. 

34. [ud-dé du(l)- du(l)-|dug Su-dm 34. [The spirit] reduces [all things] 

mi-1b-gal to tribute.® 

35. te-e-dm ama-gan-ra dumu-ni 7i- 35. How long shall the child-bearing 

em-ma-na-ad(!)-du® mother reject her son? 

36. te-e-4m ama-gan-ra ga-Sa-anuru 36. How long shall the child-bearing 
bar-ra-ra dumu-ni 7i-em-ma- mother, queen of the city, 
na-ad(!)-du cast aside her sonrt! 

‘Var. adds ra. 


> The god Ea of Eridu is meant. 


®Cf. Col. Il 19. On this variant for dumu-mag, see note in Sumerian Liturgical Texts 163. 

‘ Restored from Col. II 20. 

* We expect the sign EDIN(=ri) but the traces are clearly not those of EDIN. 

® Col. 11 23 ab-su-di. Here begins KL. No». 11, I, which joins directly on to Tablet Virolleaud. 

7 This refrain is read a-um etc. on the late variant, SBH. No. 21, Obv. lower fragment. 

* Cf. SBP. 40, 33. Restoration uncertain. This line does not appear in SBH. 42=SBP. 112 
which has here insertions for TaSmetu and Nana. 

* For -na-tar. The suffixed conjugation is frequently employed in interrogations; me-na 
gi-gi-mu, “‘When shall one restore it?,’’ BE. 30, 12,2. a-ba ku-ul-la-ba, ‘“‘Who shall restrain?,” 
Ni. 4610, tr. 1, a-na an-na-ab-tag-ni, “What shall I add to thee?,’’ GENOUILLAC, Drebem, 1, 12. 
Variant SBP. 114, 32 zag-na ab-zi-em-e. 

1 Var. SBH. 43, 35 ur-ra-ge. 

. Parallel passages do not mention the “queen of the city” but only the ordinary mother who 
rejects her children, SBH. 131, 58-61; BL. 74, 10. The phrase refers obviously to the mother 


goddess. “Her son” must be interpreted figuratively in the sense that the mother goddess is the 
protector of all human creatures. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 205 


37. te-e-4m ama-gan-ra_ ga-Sa-an 37. How long shall the child-bearing 
sun-na-ra' dumu-ni 7i-em-ma- mother, the wild-cow queen, 
na-ad-du reject her son? 

38. auru-a mu-lu im-me-a-ra? dumu- 38. How long in the city shall he of 

. nt 7i-em-ma-na-ad-du wailing reject his son? 

39. a kt-dagar-ra-am Nippur-dm ib 39. How long in the wide land, in 

éS-ga-a-ra> Nippur, in the region of the 


vast abode? 
ree ee eee a 


40. a-gal-gal Sel-su-su mulu ta-zu 40. Flood that drowns the harvests, 

mu-un-7u4 who comprehends thy form? 

41. e-lum a-gal-gal Sel-su-su mulu ta- 41. Exalted, flood that drowns the 

qu mu-un-7U harvests who comprehends 

F thy form? . 
42. “mu-ul-lil u-mu-un kur-k.ir-ra 42. Enlil lord of the lands, who etc. 
OBVERSE II] 

1. u-mu-un dig-ga-71-da’° 1. Lord of the faithful word, who 
GLE 

2. *mu-ul-lil a-a ka-nag-ga 2. Enlil father of the Land, who 
etc. 

3. sib sag-gig-ga 3. Shepherd of the dark-headed 

people, who etc. 

4. 1-dé-dug ni-te-na 4. Thou of self-created vision, who 

etc. 


1 This title gasan-sun or nin-sun, really means beltu rimtu, “the wild-cow queen,” and char- 
acterizes the ancient mother goddess as patroness of cattle. The title usually refers to the married 
type Gula or Bau, as in SBP. 284, 19, and note that Ninsun, mother of Gilgamish, is frequently 
called ri-mat, PorBEL, OLZ., 1914, 4. The title also applies to the virgin type Inniniin KL. 123 
Pe lyy. 

2 mu-lu imme also BE. 30, 9 | 2=bél kili(?), ““Man of wailing.” The late version replaces 
this line by [te-e-dm] da-ga-a-ta dumu-ni, ‘‘How long shall the wife of the strong man reject her 
son?”’, SBP. 114, 37. dagata=dam-gutu, SBH. 131, 60. 

3 Probably atitleof Ekur. e¥galla title of the temple in Kullab, KL. 3 [1 20. The late version 
rejects this line since its local reference was not suited to general use. 

4 Here this line begins an Enlil melody within the body of a series. Originally a-gal-gal 
$el-su-su was a Nergal melody and a series based upon it is catalogued in IV R. 53a 33 of which 
K. 69 is the first tablet. See also BOLLENRUCHER, Nergal, No. 6. 

5 The late redaction of this melody revises this litany with the new liturgical movement 
ursaggal—elimma placed before alternate lines. When this scheme is employed all feminine 
deities are omitted. See SBP. 114. Note 5 p. 115 ibid. is to be suppressed. 


296 UNIVERSITY MUSEUM—BABYLONIAN SECTION 

5. am erin-na sd-sd 5. Hero who directs his hosts, who 
el, 

6. u-lul-a dur-duir 6. Thou that sleepest the sleep of 
perversity, who etc. 

7. Sag gi-it gi-tt Sd-ab thg-e tug-e 7. Oh heart be reconciled, be recon- 
ciled, oh heart repose, repose. 

8. Sag an-na gi-u gi-it 8. Oh heart of Anu be reconciled, 
be reconciled. 

9. Sag “mu-ul-lil gi-i gi-ik 9. Oh heart of Enlil be reconciled, 
etG, 

10. Sag ur-sag-gal gi-u gi-i' 10. Oh heart of the great hero, be 
reconciled, etc. 

11. ni-ma-al-e zid al-ma-al? [li-|e? 11. Kneaded bread for the feast I 

nap-tan-na as-Sa-ka-nu set, 

12. ni-ma-al-e ni-ma-al-e 12. Kneaded bread, kneaded bread, 

13. ni-ma-al-e id al-ma-al 13. Kneaded bread for the feast I 
set, 

14. [kur-gal “en-lil-|da Su-en-ne ba- 14. By the Great Mountain, Enlil, 

tng it has been blessed. 

15. [a-a * mu-ul-lil] Su-en-ne ba-tig 15. By Father Enlil it has been 
blessed. 

16. [kur-gal * en-lil-|Su-en-ne ba-tig 16. The Great Mountain Enlil has 
blessed. 

17. [a-a *mu-ul-lil] Su-en-ne ba-tig 17. The Father Enlil has blessed.‘ 

18. u-mu-un am uri-zi-ib-(ki) Su- 18. Lord, hero of the sacred city, 

en-ne-ba-tng has shown grace. 

19. ama-é-mag'-a * dam-gal-nun-na 19. Mother of the house of the 
famous one, Damgalnunna, 
has shown grace. 

20. “asar-li-dug dumu urth zi-ib-(ki) 20. Asarludug, son of the sacred 
city, has shown grace. 

21. mu-ud-na-an-ni * apin’-nun-na- 21. His wife Zarpanit has shown 

an-k1 grace. 
' Lines 7-10 conjecturally restored from Sumerian Liturgical Texts 165, 8-11. 
* Lines 11-17 restored from SBP. 116, 16 ff. 
§ Meaning and restoration uncertain. 
* First line on ZIMMERN, No. 11 Col. Il. 


5 See note on line 27 above. 
* Usually pa=ekf, canal, is used in this title of Zarpanit. 


She is originally a patroness of 
Irrigation and ultimately identical with Nina. 


22. 


oy. 
24. 


25% 


26. 


O73 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 


43d ama urtt 7i-ib-(ki) 
4 q-ri-e ga-Sa-an ab-su-di! 
sukkal-zid mu-dug-ga-sd-a Su-ba- 
e-en 
ni-ma-al-e zi-ib ni-ma-al-la-ta 


gi-ib ni-ma-al-la-ta ni-ma-al-e 
zi-ib-bi dé-kur-e? 


4 mu-ul-lil-li zi-ib-bi-kur 7i-1b- 
bi dé-kur-e 


22 


23 
24 


25 


26 


27 


207 


. River goddess, mother of the 


sacred city, has shown grace. 

. Zarpanit queen of......, etc. 

. Faithful messenger, called by a 
good name, has shown grace. 

. The kneaded bread which has 
been well made, 

. Which has been well made, the 
kneaded bread may he eat 
graciously, 

. May Enlil graciously eat; yea 
graciously eat. 


28. 


20. 


30. 


kt an dur-ru-na-su uku*-e gar- 
ma-an-z7i-en 

(2: A-nun-na'-|ki an diir-ru-na-si 
uku-e gar ma-an-zi-en 

é-e am-ba-al ne-sag-mag* é-e am- 
ba-al 


-28 


29 


30. 


. Where Anu sits may the people 
hasten. 

. [The Anunnaki.| Where Anu 
sits let the people hasten. 
To the temple he enters, the 
mighty priest of sacrifices to 

the temple enters. 


31. a-tu-th ma-mu Su-lug-ge a-tu-tn 31. A libation he offers, the priest of 
ma-mu hand washing a libation offers. 
32. é-e ud-Sda-ab-sn e-dam ud-sus-S% 32. To the temple at mid-day go up! 
e-dam at sun-set go up. 
33. ud-da ne-sag-e Su-si-sa e-dam 33. Daily to direct the sacrifices go 
up! 
34. ud-dau-gul-ma-ma Su-si-sd e-dam 34. Daily to direct the prayers go 
up! 
35. ud-da an dim-me-ir mu-7u an-nt 35. Daily Anu merciful god® on high 
qu-zu-dam proclaim. 
36. “am-an-ki am urti-zi-ib-(ki) an- 36. The hero of heaven and earth, 
nl 7u-7u-dam hero of the sacred city on 
high proclaim. 
37. *en-lil ma-gin' “en-lil gin-uku- 37. To Enlil let all the land, to 


€ gar-ma-an-Zi-en 


Enlil let all the people hasten. 


} ab-su=ab-zu, sea? Cf. ab-zu-bil-la, the shining ocean, KL. 1 Rev. I 19 f. 

2 SBP. 116, 27 dé-en-kur-e. 

3 Var. u-mt-a, SBP. 116, 33. 

4 Line 29 is false and to be corrected after the late text SBP. p. 118, 35 f. which has two lines. 
Read ki an diir-ru-na-k “A-nun-na [gar-ma-an-zi-en], where Anu sits let the Anunnaki hasten. 

’ Cf. SBH. 44, 37. ' 

6 ilu ra’imu. 

7 napbar mati, cf. 1V R. 230 15. 


208 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


38. an-ni a~ma-an-th an-gut (?) an-n1 38. Unto heaven verily I will libate 
a-ma-an-tt ‘a-ab dm-ma-ab water, unto the canopy of 
-ttig-e heaven, unto heaven verily I 


will libate water. The heart 
I will appease. 


39. im-ma-an-a-th a dm-ma-ab-tug-e 39. I will pour out a libation, the 

father | will appease. 

40. *am-an-ki am urtt-zi-ib-(ki) am- 40. The hero of heaven and earth, 
ma-ab-tug-e' the hero of the sacred city I 


will appease. 


Se © | Sea i : 


Corl 
(Here began a melody of which ten lines at least are lost.) 


LT. 2. della C= KE Ob veat iat) Lie 


12. unugal(?)-da....|ta | 12. 
13. du-sag-a5?-ta | | 33 
14. é-bi-tir-ta ° | | 14. 
15. é5 é-bar-ta | | [Se 
16. é§ é-an-na-|ta | 16. 
17. Se-1b [ | 17. 
18-22 ai Ct ae eee 18-22 
23.0 Fal | 23. 
24. du (°) [ ] 24. 
pe. Se lene 735 


26. [mu-un-|tig-ga-ta [| ] 26. He has been pacified [ 
27. mu-un-tig-ga-ta | | 27. He has been pacified | 
28. mu-un-tig-ga-ta | | 28. He has been pacified [ 
29. mu-un-tig-ga-ta Sag *[ | 29. He has been pacified, the heart 


of......[has been pacified] 
30. mu-un-tig-ga-ta kur-gal * m[u- 30. He has been pacified, the great 
ul-lil mu-un-tig-ga-ta| mountain [Enlil has been 
pacified] 


‘ It is not certain that this melody ended here. Possibly all the titles in lines 19-27 followed 
here with the refrain am-ma-ab-tig-e. At any rate the traces of a last line on SBH. 44 are those 
of the last line of this melody. There is not space enough on SBH. 44 after line 37 for more than 
the lines 31-40 supplied above for we must make some allowance for the interlinear Semitic 
translations in the break on SBH. 44. 


* Subat piristi. This sanctuary at Nippur is mentioned in BE. 29 No. 5 Obv. 11; da-sag in 
KL. 64 II 4 and III 6. 


Su-gar nu-un-tuk® 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 299 
31. edin-na ° -a erida (k1)-ta PlceLnethemsye plain of Eridu....} 
32. a-ma-ru na-nam kur al-gul-gul 32. A tempest it is shattering the 
mountain. 
33. u-mu-un-e e-ne-em-ma-n1 a-ma- 33. The word of the lord is a tem- 
[ru na-nam| pest. 
34. Sab-bi e-lum-e a-ma-ru na-|nam| 34. The heart? of the exalted is a 
: tempest.’ 
35. Sab-bi ?mu-ul-lil a-ma-ru na- 35. [he heart of Enlil is a tempest. 
nam 
36. u-mu-un-na Sag an-su an ni-ne 36. The heart of the lord is in heaven 
ba-ni-1b-gam-ma-|ne| and the heavens waver of 
themselves.* 
37. ?mu-ul-lil e-ne-em ki-Sh ki ni 37. The word of Enlil is on earth 
Sig-ga-n1 and the earth trembles of 
itself. 
38. e-ne-em-ma * a-nun-na gil-li-em- 38. The word which brings woe to 
es-[a-ni|? the spirits of earth. 
39. e-ne-em-ma-ni a-zu nu-tuk sim- 39. His word a prophet has not; 
Sar nu-[un- tuk| a magician it has not. 
40. €-ne-em-ma-ni a-ma-ru {1-ga gab- 40. His word is an onrushing tem- 


pest, an adversary to oppose it 
has not. 


(Here followed Obv. IV; eight or ten lines continued this melody to the 


is 


nx 


word. 


Their contents were similar to SBP. 100, 40-57 ff.) 


REVERSE III’ 


sukkal-zid mu-dug-ga-sa-a [ | 


dingir ga-Se-dé a-be-in-si sag| | 


I 


2 


. The faithful messenger, he 
called by a good name. 

. The god who satiates with milk 
and grain, sag®..... 


Nee eee 


1 End of the sixth melody. 


2 Heart is used here in the sense “wrath.” 


3 Cf. SBP. 98, 40 f. 

7 CleSB Prod, 443" 124,19. 
8 Cie SBP.38, 13. 

6 Cf. ibid. 98, 48. 


7 In case the tablet possessed five columns like KL. 25 then this column is Rev. III. I know 


of no four column tablets of similar kind. 
8 sag began a refrain which followed the titles of Enlil, Ea, etc. and ended with this line. 


See Obv. I 21-31, etc. 


300 UNIVERSITY MUSEUM-——BABYLONIAN SECTION 


3. an-ki-bi-da im-mi-1b-gun-ga | 3. Heaven and earth it has pacified. 
4. ki-an-bi-da im-mi-1b-gun-ga 4. Earth and heaven it pacified. 
5. ud é-kir-ta kur-gal *mu-ul-lil 5. When in Ekur the great moun- 
[zm-m1-ib-gun-ga] tain Enlil it pacified, 
6. é-lam-ma'-ta ama-gal *nin-lil im 6. [When] in Elamma the great 
[-m1-1b-gun-ga] mother Ninlil it pacified, 
7. an-ni-gar-ra’-la_ eres’ * mu-ul- 7. In Annigarra the consort (stster) 
[-lal «m-m1-1b-gun-ga] of Enlil it pacified. 
8. e-lum di-da-ra dé-en* ga-am-dur 8. The exalted who walketh forth, 
where tarries he?® 
9. di-da-ra e-lum di-da-ra dé-en ga- 9. Who walketh forth, the exalted 
dm-dur who walketh forth, where 
tarries he? 
10. u-mu-un-e kur-kur-|ra-ge di-da- 10. The lord of the lands, who 
ral walketh forth, where tarries 
her 
11. [u-mu-lun-e dig-ga-zi-da di 11. The lord of faithful word, who 
etc. 
12. *mu-ul-lil a-a ka-nag-ga di 12. Enlil, father of the Land, who 
CLC, 
13. sib sag-gig-ga di 13. Shepherd of the dark-headed 
people, who etc. 
14. 1-dé-dug ni-te-na di 14. He of self-created vision, who 
etc. 
15. am erin-na sd-sd dt 15. Hero that directs his hosts, who 
Cle 
16. u-lul-la dur-dir di 16. He that sleeps the sleep of per- 
versity, who etc. 
17. me-e bur-mag-a ka ga-an-na-ab 17. | in a great bowl will pour out 
nisak-ka wine to him. 
18. ama-gim dugud®-da da-mu-un-lal 18. I like a wild ox will bow down to 


the mighty one.” 
CENCE oe 


Cf. SBP. 82,47. 

* A title of Egalmah in Isin, SBH. 94, 29=SBP. 186, 209. 

* Either DAM or SAL+KU (sister) must be expected, since we have obviously a reference 
to Aruru here. 

‘ Sic! An error for en-ne? See SBP. 120, 1. Perhaps dé=te, ‘‘where?”’ strengthed by en=adz. 

° The following melody has been restored from the late variant SBP. p. 120. 

® Glossed gti-da. 

7 Semitic lu-uk-mi-is-su. glossed kami. kami, “to bind,” is the natural rendering of Jal. 


The Semitic should perhaps be neglected as faulty and the Sumerian rendered, “Like a wild ox 
by the mighty one I am hoppled.”’ 


28. 


20. 


30. 


31. 
32. 


33: 


34. 


35- 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 


. urn-zu al-gul-gul ga-an-na-ab- 


dug 


. kenur é-nam-ti-la al 
. gimbir-(k1) é-bar-ra al 
. uru-zu tin-tir-(ki) al 
. é-sag-ila bad-si-ab-ba-(ki) al 
. é-7i-da é-mag-ti-la al 
. é-te-me-en-an-ki al 


. é-dar-an-na al} 
. gi-er-ra ba-ma ga-an-na-ab-dig* 


ud ma-ra mu-un-zal-la-ta 1-dé-a- 

ni nu-gub 

‘mu-ul-lil-li mu-un-zal-la-ta i-dé- 

[a-ni nu-gub 1-dé-nam-mu-un- 
di-ru} 

‘mu-ul-lil-li 1-dé-a-ni_ nu-gub 

1-dé-nam-mu-un-du-ru 


d 


ad 


me-e ur-ri-mén me-e kas-mén* 
a é-ne al-dib a é-ne al-dib 


[nin]-urti-ma ama-gal *nin-lil-la 
[men] 
[tal-ru-ru SAL+KU “mu-ul- 
lil-la [mén|] 

[nin?]u-a gasan ni-ib-bur men 


19 


20. 
20 
rp 
238 
24. 
25. 
20. 


eg 


28. 


20. 


30. 


zat 
32. 


33: 


34. 


35 


301 


“Thy city is destroyed,” will I 
say to him. 
“Kenur and Enamtila are de- 
stroyed,”’ will I say to him. 
“In Sippar Ebarra is destroyed,” 
Cte 

“Thy city Babylonis destroyed,” 
etc: 

“Esagila and Barsippa are de- 
stroyed,”’ etc. 

“Ezida and Emahtila are de- 
stroyed,”’ etc. 

“Etemenanki is destroyed,” 
CLC, 

“Edaranna is destroyed,”’ etc. 

“Wailing on the reed-flute 
ascends in her,’’’ will I say 
to him. 

When | am overjoyous in his 
presence may I not stand. 
As to Enlil when I am over- 
joyous in his presence may 

I not stand. | 

In the presence of Enlil may | 
not stand; may he behold me 
not. 


[ am a stranger and a fugitive. 

The risen waters seized away; 
the risen waters seized away. 

Queen of city and house, great 
mother Ninlil am I. 

Aruru, sister of Enlil I am. 


A queenly caretaker, queen of 
Nippur | am. 


1 Lines 21-26 may not have stood in the ancient liturgy. 
2 Here begins variant 81—-7-27, 203 = BA. X 87. 


3 Nippur. 


4 Beginning of a melody of a weeping mother series, BL. p. 94, 12. It is not certain that this 
melody stocd in the ancient text. See for the text 81-7-28, 203 (= 78239) in this volume. 


302 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


36. [gaSan] azag-ga' gaSan ma-gi-a 36. An holy queen, queen of the 
men convent | am. 
37. ma ma-al-la-’4 ma ma-al-la-5n 37. In the builded house, in the 


builded house, 

38. ?mu-ul-lil [umun?] kur-kur-ra 38. Enlil [Jord] of lands in the 
ma builded house, 

39. leres|-mu mu-un-til ma 39. My consort dwells not in the 
| builded house. 


40. At the end of this column began a long titular melody? 


(Lines 1-11 of this melody, i. e., 40-51 on KL. 11, III, are supplied by 
Tablet Virolleaud, Rev. 1-11, and restores the entire section.) 


REVERSE IV(?) 


1. *Mu-ul-lil-li dam-a-ni *Nin- 1. Enlil and his consort Ninlil (we 

lil-li wills pacify)s (—"labwe vie 
i Revmraa) 
2. An “UraSa ki-Se-gu-nu-e3 2. Anu-UraS kisegunu. 
3. “En-ki *Nin-ki En-ul *Nin-ul 3. Enki and Ninki, Enul and Nin- 
ul. 
4. *En-da-Surim-ma  %Nin-da- 4. EndaSurimma, NindaSurimma.4 
Surim-ma 
5. “En-di-azag-ga * Nin-dit-azag- 5. The Lord of Duazag, the Queen 
ga° of Duazag. 


6. ama “Nin-lil a-a “Mu-uklil 

. © En-ut-til-la®’ * En-me-en-$ér-ra? 

8. nin-zi-an-na* ga-Sa-an gar-sag- 
ga* 


aie Bi 
MY SBHS 34a, 


* The duplicate, MEEK, No. 11, has here another melody not a titular litany. This text does 
not belong to the e-lum gud-sun series. 


‘This title of UraSa remains unexplained. In all other examples *Ura¥a k1-Se-gu-nu-ra, 
SBP. 150, 6; 90, 20; K. 3931 Rev. 29; Kerry Rev:rl'6. Perhaps also Gudea, Cyl. B 19, 13 


is to be restored ki-Se-gu-[nu-ra] 


Mother Ninlil and father Enlil. 
Enuttilla and Enmen§Sarra. 
Ninzianna and Ninharsag. 


“J 


COM 


* Father-mother names of Enlil, IV Raw. 15 rod 

* Enlil names, CT. 24, 4, 2A 

® Enlil, CT. 24, 4, 20. 
| 7 Usually me-sdr-ra. Enlil name, CT. 24, 4, 26. Not originally associated with Nergal. 
see Historical and Religious Texts, p. 35. 


* Here both titles of Ninlil. Variant nin-zid-an-na, PSBA. 1911, 233 N. 39. 


10. 


. *ga-Sa-[an-gal-e 


STEPHEN 
4-Sul-pa-ée! en *bankur-ra 


, Seetert Merae 
ama Se-en-tur? dim-me-ir imin 


. u-mu-un sitNipru-(k1) u-mu-un 


kalag-a 


. gu-de-de> ga-Sa-an Nipru-(kt) 


. dingir dumu-sag® “ ga-Sa-an mu- 


un-ga-ra 


._*Nusku [d-|\mag dingir-gidim [é- 


kur-ra| 


_ ama é-a-ge *Sa-ddér-nun-na| 


q-Se-ra-ag gidim é-Sar-ra | 
lamma-Sdg-ga — me-lam-an-na| 


. dumu [sukkal-gal 4-Nannar 


q-7uen-na 


. *+En-[nu-NUNUZ-7i *Nannar’ 


dam *Nannar-ge| 


_ nu-banda-(mag *Mu-ul-lil-la-zi- 


ge| 


. *{En|)-bu-[ul-e dumu é-Sab-ba| 
. Sul-al[n-na umun fgar-sag-gal-ge| 


ama-an-na-ge| 


LANGDON—SUMERIAN LITURGIES AND PSALMS 


303 


9. Sulpae, lord of the sacrificial 
board. 

10. Mother Sentur, (mother) of the 
seven gods.’ 

11. [The lord light of Nippur, mighty 
lord. 

12. The loud crying, queen of 
Nippur. 

13. Divine first born daughter, di- 
vine queen of treasures. 

14. Nusku of mighty message, di- 
vine spirit of Ekur. 

[15. Mother of the temple, Sadar- 
nunna.| 

(16. Serah spirit of ESarra.] 

[17. The propitious spirit whose 
splendor is supreme.| 

18. The son, [great messenger, Nan- 
nar-Sin.| 

19. Zir [spouse of Nannar]. 

20. [The august] prefect, [divine 
Enlilzi|® 

21. [Enbul son of ESabba.] 

22. Hero of [heaven, lord of the 
ereat mountain.| 

23. Ningal [heavenly mother.] 


peepee ee ee 


150 n. 5, |. 11 and 


1 Originally title of Enlil, CT. 24, 25, 97= 13, 42. 


2 Two other readings of this title of Ninlil as mother goddess are known; 
1S o-en-tur, KING, Supplement to BEZOLD’s Catalogue, p. 10, No. 51, 8 where 


she is identified with Nintud =“bélit. 


3In ZA. VI 242, 21 their mother is [Shara, another title of the same mother goddess. 


the seven gods see 1V Raw. 21 No. 1 B. 


CR. 


24, 6, 20=8 Col. Dicer 


also 


4 Perhaps=s7-gal, title of Ninurta, SBH. 132, 26; BL. 92, 7- 
5 Usually title of Ninlil as here, SBH. 132, 23; SBP. 150 n. 5, 13. 


BAe 2. 
6 Var. ‘Nappasi. 


Usually Marduk as Jupiter. 
4S e-en-tir, SBP. 
For 


Cheque t2: 
But consort of Ninurta, 


7 The entire ideogram was read 7ir=qirru, SmitH, Miscel. Texts 25, 16. | 
8 A legendary king who had received apotheosis, and was placed in the court of Enlil, CT. 


GENOUILLAC, Drebem, 5501 II 21; 


The variant SBP. 152, 15 inserts another deified king Ur-Sin. 
Babylonian Liturgies, 92 Rev. 10, Gla qsOn2 le 


See 


304 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


24. “ga-sa-[an an-na_ 45-ni-gi-ge'] 24. The queen of heaven [who alone 
is strong. ] 
25. mu-ud-[na-ni * Ama-usum-gal- 25. Her husband [Tammuz.] 
an-na| 
26. ama u-[mu-un-na gasan sun-|na 26. The mother of the lord,? Ninsun. 
27. u-[mu-un banda u-mu-un é3-| 27. Lugalbanda lord of ESnunak. 
nun-na 
28. é-rib an-na mu-tin-an-na 28. The heavenly sister-in-law, Ge&- 
tinanna.? 


(Here supply twenty-eight lines =SBP 154, 24-156, 51.) 


REVERSE V(?) 


1. “En-d-nun ama git-an-ni-si 1. Enanun mother of loud weeping. 
2. “NINDA+GUD* amar zag-gi- 2. Ninda-Gud, the radiant son. 
ra® 
3. “St-nir-da’ en Sul-mé-ra 3. Sunirda, queen, heroine of 
battle. 

4. dumu-Sag-ga ga-Sa-an kdr®-nun- 4. The pious daughter, Ninkar- 
na-ra nunna.? 

5. ga-Sa-an dig-ga dingir-lum-ma™ 5. Queen(?) of the dead, Lumma 
ur-sag the heroic. 

6. u-mu-un uru-gal a-mu-un 6. Lord of the grave, lord of the 

é!-g1d-da seizing hand. 


$a ee eee 

‘Or gi-ur-sag. The Semitic is ¥a edi$-¥1-a karradat. On Innini queen of heaven, see Tammuz 
and Ishtar, 88. 

2 1. e., Gilgamish. 

*See Tammuz and Ishtar 57, n. 2. 

*On this title of the weeping mother, see Sumerian Liturgical Texts 173. 

° A title of Immer the thunder god. 

® Zagin-na>zaggira, see Sumerian Grammar, § Ap 

‘ Aja goddess of light and battle, Babylonian Liturgies 143. 

* ZIMMERN, AZAG an error? 

* CL KO7145,°7:in CT. 20, 47. 

10 47 um-ma or Humma, CT. 24, 6, 18 one of two utukku of Ekur. Duplicate PV oS i Gp 
Often in names of the early period, SCHEIL, Textes Elamites-Semitiques, p. 4 and in name of ancient 
patesi of Umma, Ur-lum-ma, see THUREAU-DaNGIN, SAK. 273. SCHEIL, I. c. 4, says that 
Lum, Hum is an Elamitic god. The title £asan-dig-ga indicates a female deity. Note the variant 
gasan-sa-lum-ma, SBP. 158, 56. An underworld deity. 


" Br. No. 909, Var. SBP. 158, 57=V Raw. 52 II 27, has unugal, 
" Var. of d=idu. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 305 


7. *Ir-ra-gal ktt-a-nu-si-ra? 7. Great Girra, hero unopposable. 
8. lamma-sag-ga sil-gig edin-na 8. The good genius of the dark 
Peres a) ways of the plain.’ 
9. “Nin-sig-ge “Guskin-banda-ra 9. Ninsig Guskinbanda, 
10. u-mu-un nig-nam-ma-ge HU-' 10. Lord of whatsoever is, the 
kur-kur® sculptured form. 
11. sal-si®-a *Ba-n'-Sag-ga 11. The earth woman, beneficent 
Bau. 
12. u-mu-un né me en’ ga-Sa-an 12. Lord of might, lord of decrees, 
abzu priest of the deep.® 
13. “A¥nan *Azag-sug mun-galu- 13. ASnan the divine cleanser, the 
SOU UR ee ae) loud crying. 
14. [u-mu-un| sa-a” ki-sa® dumu 14. Lord of light, director of the 
nun-ra earth, and the daughter of 
the prince. 
15. [gidim uru-\ma ur sag-imin 15. [he demon of my city the dog 
of seven heads. 
16. [*Gi-bil mu- ? ?\-na" mu-ten ur- 16. Gibil.........warlike man. 
sag 
17. [% Ut-ta-ed-dé mu-lu] ki-azag-ga 17. Uttaedde lord of the holy place. 
18. [umun ma-da sub-be an-na | 18. [Lord of the land, light of 
heaven. |!¢ 


1Sign NITAH. See Var. ir-ra, Sumerian Liturgical Texts, p. 174, 7. 

2 For gud-d-nu-gi-a, ox that turns not back his might. See |. c. 173 n. 3. For g>s see 
Sum. Gr. § 40 b. ° 

3 Spirit of the lower world, CT. 24, 8, 13. 

4 Vars. Sun, or Sen SBP. 158, 61; CT. 24, 23, 24. Hence HU (muSen) has also the value Sen 
or Sun. Seeon lines 9 f. Sumerian Liturgical Texts 1740. 5. 

5 For kul. 

6Gunu of HU. Var. NU-NUNUZ-ki-a, see SBP. 158, 62=CT. 24, 10, 2. 

7 Var. A-ma-ma. Ma-ma, Ma-mi, Ma-ma, A-ma= Bau, Nintud. 

8 For en-me=bél parst. Var. umun me. Here certainly a male deity as *Nin-né = Almu, 
form of Nergal in V Raw. 21, 25. For Nin-né in the early period see ALLOTTE DE LA Fuye, DP. 
128 11 3. But Nin-né=Nin-né-mal=Alamu, form of Allat sister Ninlil, CT. 24, 10, 3, Crave. 
31,20. 

9 Variant SBP. 158, 63=SBH. 86, 63 reads Sanga-mag abzu-ge. For the writing of Sanga, see 
Babylonian Liturgies, p. XXII n. 2. 

10 On variants Duru-sug, Dir-ru-si-ga, see Sum. Lit. Texts 174, 9. 

11 Sic! Perhaps error for ga-mun. See also CT. 24, 9, 40 4t1q-mun-sal(?)-sal?. SBP. 158, 64. 

12 Title of Shamash, CT. 25, 25, 11. 

13 Title of Shamash here. Variant “Su-ud-dm= Aja, CT. 25, 9, 25. 

4 Ie, Aja. 

1 So! Var. mu-galam, “of skilful name.” 

16 See Var. Sum. Lit. Texts 175, 10. 


306 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


19. [umun d-7u umun e'-gid-da l 19. [Lord Nergal, him of the seizing 
hand. | 
20. [ga-Sa-an-né-da umun mu-zi-da] 20. [Allat and Ningiszida]? 
21. | | da-a oA ] 
79 blll |-ga 22441 iy 
23. [*Ir-ri-eS ur-sag ga-Sal-an-subur 23. [IrriS, the heroic] lord of the soil. 
24. [dingir ama é-uru-sag-ga gasan 24. [The divine mother of the tem- 
tin-dib-ba| ple of the chief city* queen 
who gives life to the dead.] 
25. [sag-ga an-na gasan| [-si-in-na 25. The lofty browed queen of Isin. 
26. [*Pa-bil-sag u-mu-|un La-ra-ag- 26. Pabil-sag® lord of Larak. 
ga 
27. [*Gu-nu-ra dim-gal| kalam-ma 27. Gunura bar of the Land. 
28. [*Da-mu Sdg-ga u-\mu-un gir- 28. The pious Damu lord of the 
su-a flood.® 
29. [*Immer u-mu-un| ni-dii-an-na 29. Immer lord of terror.’ 
30. | | id-da-ra 20F Lie Sewer e rlesL ty Clee 
31. [u-mu-un $1 ka-nag-|ga 51 kur- 31. Lord of the souls of Sumer, of 
kur-ra the souls of the lands. 
32. [*Su-ud-da-am du-mu nun-na 32. Suddam, daughter of the prince, 
ama é-|Sab-ba mother of ESabba. 


About twenty-four lines completed this column and ended the liturgy. 
The void is to be completed by part of the titular litany, SBP. 160, 19-164, 
38, and by a short intercession similar to the fragmentary intercession at the 
end of KL. No. 8. It is possible that the eleventh and last section on Tablet 
Virolleaud was retained as the final melody of this later redaction. 


1So Var. 1. c.1. 11. See above, line 6. 

* Certainly these two underworld deities are intended in this line. They occur together also 
in CT. 25, 5, 60-64. See also 25, 8, 14 where read Nin-né-da. 

8 ‘Two lines not on any variant. 

* Gula of Isin. 

® See for reading, Sum. Lit. Texts 176, 5. 

® See Babylonian Liturgies 96 n. 1. 

’ For variants, see Sum. Lit. Texts 177, 8. 

* Variant SBP. 160, 16 has another text. Other variants omit the line altogether, KL. 
SIV 8; Sum. Lit. Texts, 177. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 307 


REVERSE OF TABLET VIROLLEAUD 
(The titular litany) 


1. é-e sub-da sub-da |mu-un-lag-en-ne-en] 
To the temple with prayer, with prayer let us go.! 
2. balag? é-e dirig sub-da [mu-un-lag-en-ne-en] 
To the lyre unto the temple which surpasses all let us go. 
3. balag nigin-na-e sub-da * Mu-{ul-lil-ra mu-un| 
To the lyre unto the merciful one with prayer, {unto Enlil,] 
4. balag dim-me-ir mu-lu sub-da * Mu-ul-(lil-ra mu-un] 
To the lyre unto god, the lord, with prayer, unto Enlil [let us go]. 
5. dim-me-ir lu-gal-lu-ne-en sub-da mu-un-lag-en-[ne-en| 
Unto him who is god of his people with prayer let us go. 
6. me-en-ne é-e tit a-ra-zu-a mu-un-lag-en-ne-[en] 
We “Oh temple repose” in prayer come 
7. me-en-ne k1-e tub a-ra-zu-a mu-un-lag-(en)-ne-en *M u-[ul-lil-ra| 
We “Oh earth repose’ in prayer come, unto Enlil (come). 
8. u-mu-un Sa-ab tib-e-da in-ga’-lag-(en)-ne-en 4 Mu-(ul-lil-ra] 
To pacify the heart of the lord behold we come unto Enlil. 
Q. Sa-ab gun-ga bar gun-ga-da in-ga-lag-ne-en * Mu-[ul-lil-ra] 
To pacify the heart, to pacify the soul, behold we come to Enlil. 
10. me-en-ne Sd-ab u-mu-un-na mu-un-tib-(en)-ne-en * Mu-[ul-lil] 
We will pacify the heart of the lord, yea of Enlil. 
11. Sd-ab an-na $4-ab * Mu-ul-lil-lé mu-un-tub-(en)-ne-en 
The heart of Anu and the heart of Enlil we will pacify. 
12. “Mu-ul-lil-lé dam-a-ni *Nin-lil-lé 
[The heart of] Enlil and his wife Ninlil [we will pacify.] 
13. “En-ki *Nin-ki *En-mul *Nin-mul! 
The heart of Enki, Ninki, Enmul and Ninmul [we will pacify.] 
14 1-lu a-di 1g-ga-am-ma-ru 
A god until they are finished.® 


1Cf. SBP. 74, 19 and 68, 5. 

2 For this sign=REC. 46, see now K.L., 25 III 15. The two signs balag and dup are dis- 
tinguished clearly on this tablet; see Obv. 9 for dup. On the distinction of two original signs in 
Br. 7024, see THUREAU-DANGIN, ZA. 15, 167; Chicago Syllabary 208 f., and PBS. 12 No. 11 Obv. 
Col. II 45 and 46 and page 13. Syl. B distinguishes the two signs. 

a See RAS 1145 Ni 5: 

4 All father-mother names of Enlil, CT. 24, 3, 29 ff. 

5 This Semitic rubric is unique in the published literature of Sumerian liturgies. It indicates 
that the choristers should here complete the long titular litany by reciting the titles of the deities 
named in the litany given in full on the Berlin tablet; see the preceding edition of K. L. 11 Rev. 


IV 1 ff. 


308 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


ki-Sub-gh 10-kam-ma' 
The tenth strophe. 
(The Recessional) 

15. w-mu-un-mu 7a-e babbar® uru-ma ur-Sag-ga me-en 

My lord thou art, light of my city, a hero thou art. 
16. Sb-bi-mu ti-mu-un kalag-a ur-sag-ga me-en 

My illumination, oh valiant lord, a hero thou art. 
17. u-mu-un kalag-a ur-sag-ga me-en kalag-ga-na me-en 

Oh valiant lord, a hero thou art, its* defender thou art. 
18. *Babbar-gim za-e ? en-na an-ni tur-tur-ne-[en] 

Like Shamash thou art..........into heaven enters. 
19. *Nannar-gim ki dumu-qu an-na(?)* na-an-gir-rt-[ne-en] 

Like Nannar where thy son’ in heaven hastens. 
20. w-mu-un-mu enem-zu galu-ra® na-an-na-ab-zi-[em] 

My lord thy word on man has fallen. 
21. enem-zu galu ki?-kal-ra na-an-na-ab-zi-[em!] 

Thy word on him of the foreign land has fallen. 
22. enem-zu galu en-na nu-Seg-ra na-an-na-ab-zi-[em] 

Thy word on men as many as are not obedient has fallen. 
23. U-mu-un-muU Uru-ZU-a e-n1 a-sar-sar-ra® 

My lord beneficent waters in thy city cause to spring forth. 
24. a-a *Mu-ul-lil ki-bur-ta-bur-ta uru-7u-a é-ni 

Father Enlil.........in thy city cause to come forth. 


ki-Sub-gu 11-kam-ma 
The eleventh strophe. 
25. sub-bi Se-1b é-kur-ra-ta ki-na gi-gi-ra. 
A prayer for the brick walls of Ekur, that it return to its place. 


ki-Su-bi-1m 
A song of supplication. 
26. al-til e-lum gud-sun 
[t is finished, the series “‘Exalted, bull that overwhelms.” 


' For this rubric, see PBS. X 151 note 1. 

? For Enlil connected with the idea of light, see PBS. X 158 n. 1. 
’ The pronoun refers apparently to uru in line 15. 

‘ Text na-an! 

* The moon god was held to be the son of Enlil, SBP. 296, 5. 

© Cf BL.48;-23. 

7 Text DI. 


* Same phrase in Ni. 14005, 24. See Le Potme Sumérien du Paradis, p. 140. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 309 


11359 (Myhrman No. 8) 
EARLY FoRM OF THE Series “Babbar-gim-d-ta 


Ni. 11359, published by Myurman, PBS. I. No. 8, is the 
left upper corner of a large four column tablet. It contained a 
series of ki-Sub melodies which formed the prototype of the later 
Enlil series of which three tablets have been edited by the 
writer, see Sumerian Liturgical Texts 167. It stands to the 
completed series as the similar tablet of the e-lum gud-sun series, 
Tablet Virolleaud, is related to its completed canonical form in 
ZIMMERN, KL. 11. Both Ni. 11359 and Tablet Virolleaud show 
the evolution of two great Enlil liturgies arrested midway in 
their evolution. They still consist of unmethodically joined 
melodies. Both have the same rubric at the end. The first 
melody of “Babbar-gim-ée-ta after line four agrees with the first 
melody of the Enlil series 77-bu-% sud-du-dm in ZIMMERN, KL. 8 
and 9 after line five of that series. A duplicate will be found in 
BL. pp. 37-39, which see for critical notes on the reconstructed 


TEX: 
OBVERSE | 
1. *Babbar-gim é-ta [ | 1. Like the sun-god arise........ 
BU INUHUT LON 2 Fs oe ahs ws oe >A) ig Ce} Ca RE laren ee A 
3. a-a *Mu-ul-lil u-[mu-un kur- 3. Father Enlil, lord of the lands. 
kur-ra 
4. *Mu-ul-lil a-mu-[un dug-ga-zi- 4. Enlil lord of faithful word. 
da| 
5. am-nd-a gud-dé sig-gan-nu-di 5. Crouching wild ox, bull that 
rests not.! 
6. *Mu-ul-lil dam-kar-[ra ki-dagar- 6. Enlil herdsman of the wide 
ra| earth. 


1 For the interpretation, see RA. 12, 27 n. 5. 


310 


. ki-nd-a-ni d-dg-[ga-e 


Ra |lu 


2 |mag dug-li 


. [é(?)|-ku-a 


UNIVERSITY MUSEUM—BABYLONIAN SECTION 


_ de-mu-un mu erin-na-[nt sag-ma- 


al ki| 


_ wemu-un 14 erin-a-[ni ga-eri-dm 


da-\ma-(la] 


_ ae-mu-un ki-dir-a-ni [uru 1r-tr] 


gal-7u| 


_a-a “Mu-ul-lil uru-[ta Nibru-kz| 
. é-kur é-Sag-gi-pad-da-ta 


. gi-gun-na gis-tir-Sim [®ertn-na- 


ta 
rat )SeS-dii-a-ka SeS-mul[..... 
ta] 
eal |st-ra é-t-[di- ta | 


é babbar nu-|zu-ta] 


. [é|-gi-dim-dim-ma_ 1-dé |nu-bar- 


ri-ta| 
dug-|dug-ta| 


85 k-[ku-igi-lal-a-ta| 


ra |-silim-ma mu-mar- 


[mar-ra-ta| 


ye 


8. 


Lord who summons his toilers, 
recorder of the earth. 

Lord who causes to abound oil 
for his toilers, milk for the 
newly born.! 

Lord whose abode is the city 
of weeping. 

In whose chamber oracles are 
interpreted. 


. Father Enlil in (thy) city Nip- 


pur. 


. In Ekur temple of (thy) heart’s 


choice. 


_ In the great dark chamber of 


odorous forest and cedar. 


In : ’ 
Ra Byker” the house of vision, 
[nee house which knows the 


sunlight not, 


_ In the house of the “reed of 


sorrow,’’ which eye beholds 
not, 


P-In thefereaty ace causing pros- 


perity to abound, 
In Ekua gate of the lifting of 
the eyes, 


REVERSE |] 


sub-bi Se-ib é-[kur-ra-ta?| ki-na- 
an-gi-gi-ra* 


Pe Wy 


a 2 © (6 wie s)) © 8 88 be) @. Of elle ee) 016 6) ae eae ee 


Prayer for the brick walls of 
Ekur that it be restored to 
its place. 


ki-$u-bi-im 


22. 


It is a service of prostrations. 


' See for readings BL. 38, 9. 
* See also Tablet Virolleaud, Rev. end. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 511 


LITURGY OF THE CULT oF KE& 
(Nippur Fragments and Ashmolean Prism.) 


Kes and Opis, two closely associated but unlocated southern 
cities of Sumer, lay apparently somewhere in the region between 
Erech and Suruppak. So closely were they united that the same 
cult of the great mother goddess obtained in both.) According 
to IT Raw. 60a 26, Innini of Hallab was the queen of Ke’. The 
Sumerian liturgy, BL. p. 54, names Nintud as the goddess of | 
this city, but the list of mother goddesses in PSBA. 1o11 Pl. XII 
calls her by the name Ninharsag,? where she is associated with 
Ninmenna, epithet of the earth mother in Adab a city near 
Suruppak. A fragment, No. 102 in BL., reads her title at Kes 
as Aruru. These various epithets all refer to the earth mother 
whose principal married type is Ninlil. In fact one liturgy 
actually names Ninlil as the goddess of KeS, SBP. 24, 74. On 
the other hand, a cult document of the Neo-Babylonian period 
names Kallat Ekur, the bride of Ekur, as the goddess of U-pi-za 
or Opis, VS. VI. 213, 21.2. The bride of Ekur is Ninlil. Thus the 
twin cities KeS and Opis of Sumer with their cult of the earth 
mother Ninharsag or Nintud were imitated in later times in 
Akkad and located on the Tigris where Opis survived into Greek 
times (7s) and KeS seems to have become confused in writing 
with KiS a famous city near Babylon. At Opis in Akkad a male 
satellite [gi-du was associated with the mother goddess and we 


1 Also Opis was sometimes called Ke, see CT. 16, 36, 3, k1-e-51, gloss on the ideogram for 
Opis. 

2 For Ninharsag at KeS, see also SAK. 14 XVIII 6. Another title of the goddess at KeS is 
Ninmah, SAK. 237e. 

3 Here the god of Opis is given as Igidu, a form of Nergal. In this late text Opis on the 
Tigris at Seleucia is probably intended. The southern Ke and Opis were imitated in Akkad, 
at any rate in later times, and Ke’ was apparently confused with Kis which gave rise to a second 
Ki¥ in Akkad. The ancient and historical Ki§ at Oheimer on the canal of the Euphrates should 
not be confused with Ki corruption for the new Ke near Seleucia. 


312 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


may be safe in assuming that he was borrowed from the original 
southern cult... Of the names Ninharsag, Aruru, Nintud, 
Ninmah, Innini of Hallab, we are not certain which one applied 
especially to KeS and Opis. In any case the liturgy which we 
are about to discuss had some special name for the goddess here. 
In a refrain which recurs at the end of each melody the psalmists 
say that the god of Ke&, that is probably Igidu,? was made hke 
A&8irgi, or Ninurta, and that its goddess was made like Nintud, 
hence the special name of the mother goddess in this liturgy 
cannot have been Nintud. 

So far as the text of this important liturgy in eight melodies 
can be established, it leads to the inference that, like all other 
Sumerian choral compositions, the subject is the rehearsal of 
sorrows which befell a city and its temple. Here the glories of 
Kes, its temple and its gods are recorded in choral song, and the 
woes of this city are referred to as symbolic of all human mis- 
fortunes. The name of the temple has not been preserved in 
the text. But we know from other liturgies that the temple in 
Ke’ bore the name UrSabba.? The queen of the temple UrSabba 
is called the mother of Negun, also a title of Ninurta in Elam.* 
The close connection between the goddess of Kes and Ninlil 
is again revealed, for Negun is the son of Ninlil in the theological 
lists, CT. 24, 26,112. Therefore at KeS we have a reflection of the 
Innini-fammuz cult or the worship of mother and son, mother 
goddess Ninh or Ninharsag, and Igidu or Negun. 


‘The god /gi-du of Ke§S is identified with Ninurta as were most of the male satellites of the 
mother goddesses in various cities. CT. 25, 24 K. 8219, 17+K. 7620, 18, “Igi-du= *Nin-urta. 
According to CT. 25, 12, 17 it is one of the titles of Ninurtain Elam. But in CT. 24, 36, 52 “/gi- 
du is a form of Nergal, and in the omen text, BorssierR, DA. 238, 10 he is explained as 
“Meslamtaéa, a form of Nergal. 

2 Or perhaps Negun. See below. 

* BL. 72, 14. Here Ke8 or Kisa is written with the ideogram for Opis. 

AGI ..25,-12) 23. pee SBE ers0, a0, 

5SAK. 118 XXVII 2. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 313 


Ke8 and Opis must have been closely associated with both 
Erech and Suruppak, and of traditional veneration in Sumer. 
KeS is mentioned in a list with Ur, Kullab (part of Erech) and 
Suruppak, Smitu, Miscellaneous Texts 26, 5. Gudea speaks of 
a part of the temple in Lagash which was pure as Ke§ and Aratta 
(i. e. Suruppak).!| The various mother goddesses of Eridu, 
Kullab, Ké&8i, Laga’ and Suruppak are invoked in an incantation, 
CT. 16, 36, 1-9. The first melody of the Ashmolean Prism 
contains a reference to the horse of Suruppak. 

The textual history of this liturgy is interesting. The 
major text is written upon a four-sided prism now in the 
Ashmolean Museum of Oxford. The object is eight inches high, 
four inches wide on each surface and is pierced from top to 
bottom at the center by a small hole, so that the liturgy could 
be turned on a spindle. The writer published a copy of this 
prism or prayer wheel in his Babylonian Liturgies. he eluci- 
dation of this exceedingly difficult text was lightened somewhat 
by the discovery of a four column tablet in Constantinople, 
which originally contained the entire text. It was afterwards 
published as No. 23 of my Historical and Religious Texts. Since 
the edition of these two sources, the Nippur Collection in Phila- 
delphia has been found to contain several fragments of the same 
liturgy. A portion of the redaction on several single column 
tablets had been already published by Rapau in his M1scellaneous 
Sumerian Texts, No. 8 (=Ni. 11876), last tablet of the series 
containing melodies six, seven, and eight. | failed to detect the 
connection of RADAUv’s tablet at the time of the first edition but 


referred to it with a rendering in my Epic of Paradise, p. 19. 


eee ere eet 
1A temple é-an-za-kar is assigned to Opis in PoeBEL, PBS. V 157, 8 and ZIMMERN, KL. 
199 Rev. I 37 (here without é). This temple can hardly be the one which forms the subject 


of the liturgy on the Ashmolean Prism. 


314 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


Another tablet, also from a single column tablet redaction at 
Nippur, has been recovered in Philadelphia, Ni. 8384.1 This 
text utilized here in transcription contains a section marked 
number 4 on that tablet but all the other sources omit It. 
Hence this redaction probably contained nine melodies. 
The new melody has been inserted between melodies three 
and four of the standard text. If evidence did not point 
otherwise the editor would have supposed that Ni. 8384 


and 11876 belonged to the same tablet. But Ni. 8384 has 
melodies four, five and six of its redaction with the catch- 


line of the next or its seventh melody which partly duplicates 
the Radau tablet. Moreover, these two tablets have not 
the same handwriting and differ in color and texture of the 
clay. Finally a small fragment, Ni. 14031, contains the end of 
the second melody and the beginning of the third on its obverse. 
The reverse contains the end of the sixth melody. This small 
tablet undoubtedly belongs to the four column tablet in Con- 
stantinople. [he two fragments became separated by chance 
when the Nippur Collection was divided between Philadelphia 
and the Musée Imperial of Turkey. Ni. 14031 will be found in 
my Sumerian Liturgical Texts, No. 22. 

Under ordinary circumstances a text for which so many 
duplicates exist should have yielded better results than I have 
been able to produce. But the contents are still obscure owing 
largely to the bad condition of the prism. My first rendering 
of the interesting refrain in which I saw a reference to the creation 
of man and woman was apparently erroneous. The refrain 
refers rather to the creation of the mother goddess of Ke’ and 
to her giving birth to her son Negun.2 


Oe 
* Published by Barton, Miscellaneous Religious Texts. 
* A new copy of the Ashmolean Prism is published in the Revue d’ Assyriologie, Vol. XVI. 


23. 
24. 


(p25. 
26. 
aT 
28. 
20. 


30. 


afte 
32) 
33. 
34. 


35. 


2. 
3. 


[é ke]5-(k1)-dug-ga dii-a 23% 
[é(°)] EN-HAR-(ki)-dug-gu dii-a OP 
[é....] nun-gim an-na dirig-ga 25. 
[é.......] azag-gim ? -si ri-a 20. 
[é] an-na-gim mis kur-kur-ra 27, 
[@....] tir-gim ki-a-ta sur-sur-ra 28. 
(Gide x2) -]gim mur-du ninda-gim 20. 
gu-nun-di' 
fet re ] bi-ta lipis kalam-ma 30. 
CARS ] bi-ta gid Ki-en-gi-ra x, 
(eae oie: ] zb-gal an-e-ri> us-sa 32. 
[é@......]-da-gal an-e® u8-sa Bae 
(feelin 2a an-e.. us-sa 34. 
[é-........] -na [an-e] u¥-sa 35. 
Gorm ll 
ea OMRRE AE coon ss 
Lk ee aL 27 2 
é an-ni(?) Su-[ ] 


STEPHEN LANGDON-—SUMERIAN LITURGIES AND PSALMS 


Corn! 


ee oe eno OP eee Cel KS BPG 6) 6) fe 6. © 6 Feu. e016. 6s" 6 € 


as 


315 


(Lines 1-22 defaced) 


oS tere ae sO Ogee Che ce LSI Leite eek hte ea e-iee Sow: etna. 6 


[Temple] in holy Ke¥ builded. 


[Temple(?)] in holy EN-HAR 
builded. 

[Temple] like......nun, like 
heaven exceeding all.1 

[Temple] like the pure........ 


clothed in 
[Temple] like heaven the illumi- 
nation of the lands. 


[Temple] like......tur in the 
earth founded. 
[Temple] like... roaring, like a 


young bull bellowing. 
[Temple] in whose... .the hearts 
of the creatures of the Land 
4 
[Temple] in whose....the soul 
Oh ELOrOUIMerat ak ees 
[Temple], great..... IB, attain- 
ing unto heaven. 


[Temple], great... .da, attaining 


unto heaven. 


[Temple], great..... , attaining 
unto heaven. 
[Temple......], attaining unto 


heaven. 


mee heaven and eartioen. 


Cra BAe y. 707, 7- 


2 Probably for gud-NINDA =biru, miru. 
3 Var. na. 


4 Some verb seems to be missing here. 
5 So the prism. 
© Var. n1. 


The construction is obscure 


316 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


4. © En-lil-li ag sth. aie 4. Enlil above all. ict Lo 
5. ama * Nin-tud e5- hare ed 5. The mother, Nintud oracles... .. 
6. é Kek-ki. na. 6. Temple in KeS.. 
7. EN-HAR-(ki)=gim pine Mee, 7. Like EN-HAR it here been “ort: 
$i-in-[ga-an-tum-mu] surpassing; verily man has 
brought solicitude for it.’ 
8. ur-sag-b1 4. 43-Sir-gi-gim rib-ba 8. Its hero like ASSirgi has been 
0. ama $i-in-ga-an'-u-tud 9. | made surpassing; themother® 
verily has borne him. 
10. nin-bi *Nin-tud-gim rib-ba-ra 10. Its lady like Nintud has been 
a-ba® er-mu-ni-in-dug made surpassing. And then 
wailing began. 
11. gh 2 kam-|ma-am| 11. It is the second song. 
12. é an-sn gud-da ki-Su........ 7 12. Temple, in heaven resplendent, 
in earth. eyo. 
13icb ah RIS eee ae 13; Temple, in° heavens emia 
earth. 
14. 6 an-Su sikka® ki-su udu-|gim. .. 14. Totnleen in mheiven Green a bai 
~] goat, on earth like a sheep.. 
D5. cbo ANB akg ki-sn dar-|bar-gim 15. Temple, in heaven (ike) ...., in 
Coe one earth like a roe.. 
16. é an-Su.....gim....k1-Su dar- 16. Temple, in heaven like...... 14; 
bar-gim..... in earth like a roe..... 
17. € an-Su mus-gim_ sig-ga_ ki-Su 17. Temple, in heaven like a dragon 
babbar-gim za-e lag-(lag?] gleaming, on earth like the 


sunlight thou shinest. 


1 Variant Constple. omits kz. 

> Cf. ki-gim rib-ba=kima irsitim Situkat, DevitzscH, AL? 134, 5. KAL (ri-ib) =Situku, 
Chicago Syllabar 287; rib=Sutukku, CT. 19, 11, 12; nam-kalag-ga-ni rib-ba=dannussu Situkat, 
IV Raw. 24a 48; ana-gim ki-gim rib-ba-zu-ne=Sa kima Samé u irsitim Situgata, SBP. 250, 6. 
See also EBELING, KTA. 32, 5, rib-ba=Su-tu-ku. 

* [he meaning is obscure. For the suggested rendering cf. en me-a tim-ma, the lord who 
cares for the decrees, SAK. 204, 6. 

* For this emphatic verbal prefix cf. Detitzscu, AL’, 134, 5; ZIMMERN, KL. 68 Rev. 24. 

°I. e. Nintud. For wmmu in the sense of “mother goddess” note CT. 16, 36, 1-9 where 
the various mothers of Eridu, Kullab, Ke8, Lagash and Suruppak are invoked. The reference here 
is undoubtedly to Ninlil as the mother of Negun, SBP. 156, 39. 

6 q- -ba=arka, and then. The same phrase in BE. 31, 2, 7 and for aba, see especially Sum. Gr. 
N 241. er-du(g) probably variant of er-du=damamu. 


™Ni. 1 4031 in PBS. X No. 22 has as the verb the sign dug written five times, as also the prism. 
* Restored from the variant Cstple. Rev. I 10. 


aan 


18. 


19. 
20. 


21. 


22. 


23). 
24. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 


é an-su babbar-gim é-a ki-*n 
4-Nannar-gim...... 
é an-’u kur-ra ki-Su idim-ma 


é an-ki 3 gu-ma-bi na-nam 


EN-HAR-(ki) gim rib-ba galu 


$1-in-ga-an-tum-mu 


ur-sag-bi * A¥-Sir-gi-gim rib-ba- 
[ra] 

[ama] S1-in-ga-an-u-tud 

[nin-bi] *Nin-tud-gim rib-ba-ra 
a-ba er-mu-ni-in-dug 


317 


18. Temple, in heaven like the sun 


yey 


arising, in earth like the new 
MOON aes 


. Temple, in heaven shining,’ on 


earth loud crying.? 


. Of the temple of heaven and 


earth three are its attendants. 

Like EN-HAR it has been made 
surpassing; verily man has 
brought solicitude for it. 

Its hero like ASSirgi has been 
made surpassing; the mother 
verily has borne him. 

Its lady like Nintud has been 
made surpassing. And then 
wailing began. 


ane 


ese 


[gu] 3-kam-ma-[am| 


..| ni-gal-ar an-n1 mu- 
mag sa 


....:fgal *En-lil-li nam- 
ma-n1 gal tar-ri 


foe 


, , 


. (6) d-nun-gal “ A-nun-ge-ne kalam 


sigi(r)® lam(r)-mu 


. € ki-dur im-dub-bu* dingir gal- 


gal-e-ne 


. € an-ki-bi-da gis-gar-bi ni-gar me 


el Su-ba-e-tag 


. € kalam ki-gar-ra zag-gar-ra us- 


$a 


25. 


8384. 


AiR ENIDIC anette 


. [Temple 


It is the third section. 


in splendor 

blazing, which Anu with a 

far-famed name has named. 

er | great, whose fate 
Enlil has grandly decreed. 

[Temple]......of the Anunnaki, 
in the Land starlike gleaming. 

Temple, peaceful dwelling place 
of the great gods. 


. Oh temple whose design in 


heaven and earth has been 
planned, thou art possessed 
of pure decrees. 

Temple erected in the Land, 
where stand the chapels of the 
gods. 


1 Sor kur=napabu, better than my former rendering of this passage. 
2 idim=Segh, nadaru (cf. THompson, Reports 82, 6 with 108, 5), refers to the rumbling of the 
great gates of the temple. 


* Bta27200 
4 Same phrase in Cray, Miscel. 31, 33. 


Cf. R (si-g1) =kakkabu, CT. 18, 40, 4. 


318 


is. 


UNIVERSITY MUSEUM—BABYLONIAN SECTION 


. é-kur ge-gal ka-zal ud-zal-zal-l 


_é& “Nin-gar-sag-ga 7i-kalam-ma 


ki-bi-¥ gar 


. é-gar-sag-gal Su-lug-ga thum-ma 


nig-nam-ma-ni nt'-kur 


é......da-nu ka-as-bar nu-ga-ga 


.é.......kalam-dagal-s1  la-a 


. [é| kalam Sar u-tud numun gis- 


isimu tuk-tuk 


. [é| lugal u-tud nam kalam-ma tar- 


TL 


. [é] bar-bar kar su-kin-ditr-bi ag-dé 
. EN-HAR-(ki)-gim_ rib-ba_ galu 


S1-1n-ga-an-tum-mu 


. ur-sag-bi. * AS-Sir-gi-gim rib-ba 


ama Si-in-ga-dm-u-tud 


. nin-bi “Nin-tud-gim  rib-ba-ra 


a-ba er-mu-ni-in-dug 


[gu 4|-kam-ma-dm 


14. 
15. 


17 


. Mountain house, radiant with 


abundance and festivity. 


. Temple in whose place Ninhar- 


sag has instituted the breath 
of life of Sumer. 


. Great mountain -house, made 


worthy of the rituals of puri- 
fication, of its possessions 
nought changes. 


. Temple..........ceases not to 


render decision. 


. Temple........unto the wide 


Land bearing. 


. [Temple] causing the multitudes 


of the Land to produce off- 
spring, causing the seed to 
send forth sprouts. 


. Temple that gives birth to king, 


decreeing the fate of the 
Land. 


Like EN-HAR it has been made 
surpassing; verily man has 
wrought solicitude for it. 


. Its hero like ASSirgi has been 


made surpassing; the mother 
verily has borne him. 

Its lady like Nintud has been 
made surpassing. And then 
wailing began. 


ee EEE eee 


18. 
pn i a ee 


It is the fourth section. 


SE Se 


‘ni=nu; cf. SBP. 138, 22, ni-kus-; PoEBEL, PBS. V 26, 10. 


26. 


a7 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 319 


ASHMOLEAN Prism, Cot. II 


[urul!-in-ga-dm = uru-1n-ga-dm 
Sag-bi a-ba a-mu-un-7u" 

é KeS-ki uru-in-ga-dm Sag-bi a- 
ba a-mu-un-7u 


. Sag-bi-a ur-sag ur-sag-e-ne  St- 


mu-un-si-d1-e-ne 


. es-bar-kin-diug-ga Su-gal mu-un- 


SO ltaiss ancityrdtaiseas cli ennelts 
secrets who shall understand? 

27. The temple of KeS is a city! 
Its secrets who shall under- 
stand? 

28. Within it the heroic ones admin- 
istrate. 

29. The oracles proclaimed grandly 


du-dus it executes. 

. &-e gud-udu'-dam gud-dm-ma- 30. 
gur-ri(?)-en 

. Pee tum-ma-dm lug-lug-.. .. Ble 

. &e gud-Sdr-ra-dm> al-dug-|gar] 42) 

. &e udu-Sdr-ra-am_ al-dug-|gar| 33. 

. gi8-KU-LIL(?)-ne® gu-LI L-ma- 34. 
| dm gal-l1..... 

PRBS dd oy PUT. oe. 35. 

es cet I al ee 

ase 9G! 

_ 8 4-TU-GAB-LIS-dam an-da- Lp 
i-PIaS A L(S) e002 2. 

. far-sag-da md-a® an-da-sig-sig- ai 


[ga-am?| 


. EN-HAR-(ki)-gim_ rib-ba_ galu 


$7-in-ga-tum-mu 


_ur-sag-bi. “A¥-Sir-gi-gim rib-ba 


ama Si-in-ga-an-u-tud 


4. Like EN-HAR it has been made 
surpassing; verily man has 
wrought solicitude for it. 

5. Its hero like ASSirgi has been 
made surpassing; the mother 
verily has borne him. 


eee ve ee ee 


1So on Var. Cstple. II 6. 


2 First example of the verb zu strengthened by augment a, cf. a-ru, a-sil in Babyloniaca \\ 96. 


3 Cf. Gudea, Cyl. A 10, 18. 


4Semitic sénu? Cf. Epetinc, KTA. No. 4 Rev. 13. 


5 Var. Cstple. an. 

6 Read ge-ne? Ni. 8384 ge(?)-e-ne. 
TNi. 8384 dam. 

8 So on 8384. 


320 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


6. nin-bi *Nin-tud-gim rib-ba-ra a- 6. Its lady like Nintud has been 
ba er mu-ni-in-dug made surpassing. And then 
wailing began. 


7. [gu! 4-kam-ma-adm 7. section four? it is. 
9. é[ | 9. 

10) 2:1) Fla ae (9) te ear | | 10. : 
11. Sag-bi-a ur-sag ur-sag-e-ne S1-mu- Ge Within it the heroic ones admin- 
un~s1-d1-e-ne istrate. 

12. “Nin-gar-sag-ga uSumgal-dm 12. Ninharsag placed it in the bosom 
Sag-ki 1m-| | of the earth like a python. 
13. *Nin-tud ama-gal-la tud-tud mu- 13. Nintud the great mother...... 
un-| | 
14. “Sul-pa-e-a pa-te-si-ge nam-en- 14. Sulpae the priest king lordship 
na mu [| ] | SAE Way eon rr ee Cy 
15. “A¥-Xir-git ur-sag-ga AB>-mu- 15. ASSirgi, the champion,........ 
| Sao eee | 
16. *Urumas ligir-gal-im® edin-na- 16. UrumasS great prince in the 
an’ mu-da-an-[........] (heavenly) plain has...... 
17. é-e stkka lu-lim® gi-adm-ma-gur- 17. The temple assembles the rams 
AL and bucks. 
18. EN-HAR-(ki)-gim rib-ba galu 18. Like EN-HAR it has been made 
5i-1n-ga-an-tum-mu surpassing; verily man has 
wrought solicitude for it. 
19. ur-sag-bi 2 4¥-Xir-gi!-gim rib-ba 19. Its hero like A8Sirgi has been 
made surpassing; the mother 
20. ama S1-in-ga-a-an-u-tud 20. verily has borne him. 


ee EEE ee 


' Var. Cstple. é. See below line 21 and BL. 88 n. 4. 

* Fifth section on Ni. 8384. 

* First sign on Ni. 8384 Rev. 1. 

* Ni. 8384 gi. 

* Same sign on Var. Cstple. But Ni. 8384 has a sig apparently related to the difficult sign 
Which I assimilated to Br. 4930 in AJSL. 33, 48. The sign on Ni. 8384 recurs in ZIMMERN, KL. 
35115. 

® Var. Ni. 8384 gal-e; Var. Cstple. gal-la. According to CT. 24, 10, 8 the throne bearer of 
Enlil, but in 24, 26, 124 a ligir-gal in the attendance of the mother goddess. 

"Ni. 8384 edin-na; Var. Cstple. edin. 

8 Both variants add e. 

® Var. of gu-gar=pubburu. See BL. 10, 30. 

''Vars. omit gim. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 321 


21. nin-bi *Nin-tud-gim rib-ba-ra' 21. Its lady like Nintud has been 
a-ba er-mu-ni-in-dug made surpassing. And then 
wailing began. 
22. é 5-kam-ma-am 22. It is the fifth? section. 
23. é ud-gim ki-gal-la gub-ba 23. The temple like the sun on the 
vast foundation stands. 
24. am-lag-lag-gim edin-na siig-siig- 24. Like a white bull on the land- 
[g7] scape it reposes. 
Aa | | e gar-ra é | | DBs 
26, | |-bi-ta [ | 20. 
27. | -lta | 27. 
28-30. (28-30 illegible or lost on all the 
variants.*) 
31. | |erax| 31. 
ayaral ] gar nu | | 2 
ser |] an-Sar ki-Sar 33. 
aae | ]bi la-ga-ma_ ki-us-sa 34. 
a5 |] na-ra-ab Uri-(k1)-ka a5e 
kes-du 
36. EN-HAR-(ki)-gim rib-ba*t galu 36. Like EN-HAR it has been made 
$1-1n-ga-an-tum-mu surpassing; verily man has 
brought solicitude for it. 
Gove Ly: 
1. ur-sag-bi 4. 4$-Xir-gi-gim rib-ba- 1. Its hero like ASSirgi has been 
ra made surpassing; the mother 
2. ama-a° Si-in-ga-an-u-tud 2. verily has borne him. 
3. nin-bi *Nin-tud-gim rib-ba-ra a- 3. Its lady like Nintud has been 
ba er-mu-ni-in-dug made surpassing. And then 
4. é& 6-kam-ma dm 4. It is the sixth section. 


a a re 


1 Ni. 8384 omits ra. 


2 Sixth on Ni. 8384. 


ss Se 


3 Lines 29-IV 4 are partially restored from Ni. 14031. 
4 First signs on Rapau, Miscel. No. 8= Ni. 11876. 


5 So Ni. 11876. 
6 So apparently Ni. 11876. 


322 UNIVERSITY MUSEUM-——-BABYLONIAN SECTION 


6. 1e-aza’ <LU-Die bie ee 

6. é-KeS-(ki)-azgag LU-bi é..... 
7. é-a en-bi *A-nun-na-me-e§ 
8. nu-éS-bi dim-é-an-na-me-eS” 


9. kisal-e lugal-bur-ra-dm mu-un- 
gub 
10. en-dug Sag tug-lal nam-mi-in-lal 


11. a-tu-e umun *En-ki NE-GAB 
in-| | 

12. tu-e a-tir(r)%-at mu- e- gub 
13. lal a-Sag-ga ki-azag-ga-dm mi- 
5 
14. en 1stmu-e® abkal ubar-e-ne tu ki- 
am-ma-gal-li-es 


[ |SeS-a-nt SU-mu-un- 
sig-gi-ne" 

15. | | RU URU RU mu-ni- 
1b-bi-ne 

16. [ |-ma-ge gig-ga® mi-ni- 
ib-za 

[ | d-lal-e gi-gu mi-ni-ib- 
bi 

tree |P-ra-ge siig-siig mi-ni- 
1b-7a 

[ |] dug-gi si-ga-ba-ni-ib 

di 


‘Text certain. Not NUN. 
? Var. Cstple. en. 
* Radau’s copy has KIN. 


4 Var. a-an. 


° Ni. 11876 has ldl-e ki-azag-ga nam-mi-in-K U? 


5. Ihe sacred temple whose (?) is 
6. The Gane temple of Kes whose 


are the Anunnaki, 

8. Whose sacrificial priests are the 
dim of Eanna, 

g. Thelaisleext ie etrcaas: 


10. (The temple) unto which a be- 
neficent lord has shown 


solicitude fe ae. 
11. The libator(?), lord Enki...... 
12. The baptizer.......treads thee. 


13) 


14. The lord Isimu, the councilor 


15. 
TO oie in sorrow abounds. 
......the bound cry like birds 
oN 
17. ........1n desolation abounds. 


+++....,-May direct aright.? 


6 NI; ey < , “Le ° ° ota 
Ni. 11876 omits e. This text proves that in the ideogram Br. 1202 the gloss isimu belongs 
properly to the first two signs only and that the original reading was isimu-abkal. See especially 


CT. 12, 16, 34 (1-si-mu) = PA P-sig =usmi. 


In the later period abkal was apparently not pro- 


nounced and the whole ideogram was rendered by isimu. 


’ This line is not on the prism, 


* Ni. 11876 ga-a-an. Cstple. Var. gig simply. 


Bs oe 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 323 


Fou | | ka-zal-bi al-dug Lom Olean its Joy was sweet. 
Osa -|dug ka-zal-bi al-dug ri BU Gane ae its joy was sweet. 
Dom| |-zal-bt_ a-mu-un-K U 20. 
Dr. | |-gar-sag-ga nin-bi [?-| 21%, 


; bt am-mu-un-K U(?) 
22. EN-HAR-(ki)-gim_ rib-ba_ galu 22. Like EN-HAR it has been made 


$1-1n-ga-an-tum-mu surpassing; verily man has 
brought solicitude for it. 
23. ur-sag-bi * A¥-Sir-gi-gim rib-ba 23. Its hero like ASSirgi has been 
ama $1-1n-ga-an-u-tud made surpassing; verily the 
mother has borne him. 
24. nin-bi *Nin-tud-gim_ rib-ba-ra 24. Its lady like Nintud has been 
a-ba er-mu-ni-in-dug made surpassing. And then 


wailing began. 


25. [é(?)"| 7-kam-ma- dm 25. Itis the seventh section. 


cHIRD) VABLET OF THE SERIES “ THE EXALTED ONE 
WHO WALKETH” (e-lum didara) 
(No. 13) 


The series elum didara is entered in the Assyrian liturgical 
catalogue, IV Raw. 53a 8, and the first tablet of this Enlil liturgy 
has been found in the Berlin collection and published by Rets- 
NER, SBH. No. 25.2 The Berlin tablet belongs to a great 
Babylonian temple library of the Greek period redacted by a 
family of liturgists descendants of Sin-ibni. A fragment of the 
same first tablet of another Babylonian copy has been found, 
BM. 81-7-27, 203. The catch line of tablet two is lost on 
SBH. 25 and no part of tablet two has been identified. In 1914 


Or gu. 
21 edited this tablet in SBP. 120-123 where I erroneously assigned it to the Enlil series 
ame baranara. The tablet has been partially restored from MEEK, No. 11. The first two melo- 


dies of elume didara are used in the Enlil liturgy elum gudsun near the end just before the titular 
litany and have been re-edited above pp. 300-2 in the edition of the elum gudsun series. 
3 MEEK, No. 11 in BA. X pt. 1. 


324 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


I copied BM. 78239 (=88-5-12, 94) the upper half of a large 
tablet carrying according to the colophon ninety-six Sumerian 
lines. The number of lines provided with an interlinear trans- 
lation on this fragment is only two, which increases the actual 
number of lines to ninety-eight. Probably a few more should 
be added for Semitic lines on the lost portion. This tablet, 
also from a Babylonian redaction, belongs to an edition made 
by another school of liturgists and contains tablet three of 
. elum didara. 

The third tablet of elum didara began with a melody nzn-rz 
nin-ri gti-am-me to the mother goddess Bau (I. 2), who in line 7 1s 
identified with Nana. Lines 3-6 introduce by interpolation other 
local forms of the mother goddess, as a concession to cities whose 
liturgists succeeded in inserting these lines before the canon of 
sacred songs were closed in the Isin period. Hence Babylon is 
favored by a reference to Zarpanit in line 3; Barsippa by a refer- 
ence to TaSmet in lines 4-6. Bau or Gula wails for Nippur whose 
destruction is here attributed to the moon-god, Sin. The 
introduction of a long passage to the moon-god in the weeping 
mother melody of an Enlil liturgy is unusual. The entire passage 
reflects the phraseology and ideas of the well-known Sumerian 
hymn to the moon-god magur azag anna.’ The composer desiring 
to utilize these fine lines makes a setting for them by describing 
Sin as the god who visited Nippur with wrath, regardless of 
the inconsistency of placing such a passage in an Enlil song 
service which attributed the sorrows of Nippur to Enlil himself. 

According to the catch line of tablet two of the Ninurta 
liturgy gud-nim kurra the third tablet of that series began by 
the same melody as tablet three of the elum didara.2 It is prob- 


1 SBP. 206. 
4 SBP. 236. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 325 


able that the first melody of tablet three of both series was 
identical. Melodies are always identified by their first lines and 
when these agree we assume that the entire melodies are 
identical. Since the musicians referred to all melodies by their 
first lines it was manifestly impossible to begin two different 
melodies with the same line. But tablet three of the weeping 
mother liturgy muten nu-nunuz-gim begins its first melody! nin- 
11 nin-ri gu-dm, etc., otherwise both melodies differ completely. 
This is the first known of example of two different melodies 
bearing the same title. It is curious indeed that an Enlil, a 
Ninurta and a mater dolorosa series all begin their third 
tablets in the same manner. 

The obverse of BM. 78239 breaks away before the end of 
the melody uin-ri ninri gu-dm-me. Here forty-five Sumerian 
lines are lost; one or two melodies at least stood in this break. ” 
For the last passage on tablet three, the scribe borrows the first 
melody of the Ninurta series gud-nim kurra.2. The litanies which 
begin these melodies or series of addresses to Ninurta differ 
greatly in the two redactions. Since SBH. No. 18 belongs to a 
Ninurta series the addresses therein are much more extensive. 
The composer of the Enlil series elum didara obviously introduced 
this irrelevant melody to obtain the fine passage to the weeping 
mother, Rev. 10-21 on BM. 78239. These lines are lost on the 
Berlin text SBH. No. 18. On the whole the liturgy elum didara 
is more inconsistent in the development of ideas than any song 
service of which extensive portions are known. Only tablets 
one and three are as yet identified and neither of these is much 
more than half complete. 


fob P S140, 
2S BP) 226=SBH. No. 18: 


326 


UNIVERSITY MUSEUM—BABYLONIAN SECTION 


ru-ba-tum (rubatum) Si-si-it alt 1-Ses- 


si ina lal-la-ra-ti 


The princess, the princess, in 
misery shouts the wailing of 
the city.! 


oS SS eee 


ST 


Com 


nin-ri nin-ri gu-am-me Uru im- 
ga-dm-me u-li-li 
a gakan-mu nu-nunuz-Sdg-ga 


é-gi-a é-sag-tl-la’ u 
dumu-sag “ UraSa-a it 


_ dumu-sag é-i-be- “A-nu-um tt 


. gakan gi-ur-a-sig ud-lal-a-ge  u 


gasan-mu *Na-na-a MI 
é-gu é-7u-su u 
uUru-7U UTU-{U-SU u 
dam-zu dam-zu-su U 
. dumu-zu dumu-zu-su u 
. Se-1b-Su Se-1b-gi-gi u 
. Sagar-Su sagar-gi-gi* nu 


. si-ma® azag an-na Se-ir-ma-al-la 


ni-le-na dirig-ga-zu-dé 7a-e 
dirig-ga-zu-dé 


. na-an-na-ru el-lu $a Sa-me-e e-til 


ra-ma-ni1-su ina Su-tu-ru-ti-ka 
al-tam 


' The first line, together with its Semitic translation, is identical with the first line of the third 
tablet of the series muten nu-nunuz-gim, see SBP. 140. 


ft - 


W 


How long my queen, the pious 
woman, in misery?? 

The bride of Esagila in misery? 

First born daughter of Urasha 
in misery? 


. First born daughter of the temple 


Ibe-Anum in misery? 
The obedient queen, she the.. 
...., IN misery? 

My queen Nana in misery? 
(How long) shall thy temple for 
thy temple in misery be? 
Thy city for thy city inmisery ber 


. Thy wives for thy wives in 


misery ber 


. Thy sons for thy sons in misery 


ber 


. (How long) for the brick walls 


shall the brick walls restored 
wail? 


. For the dust shall the restored 


dust wail? 

Bright horned light of heaven 
mighty of itself, in thy excel- 
lence, yea thou in thy excel- 
lence, 


. Otherwise the melodies differ. 
? The refrain a-l1-l1 apparently provides an incomplete sentence. 


~ 


* Cf. SBH. No. 84, 13, there a title of the river goddess. 
* Lines 10-13 form a duplicate of SBH. No. 25, Rev. 2-5 =SBP. 122. 


Biever ys oleae = : 
st-md, literally karnanu, the horned, referring to the new-moon. 
has md-gur, the crescent boat. 


passage. 


The variant SBP. 296, 1 


Undoubtedly md-gir should be rendered by nannaru in this 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 


nS eee) See Se 6 gt eye. a) sf 8 ee Oe ee gee 


. a-a *Nannar si-md azag an-na 10. 
Se-ir-ma-al- a ni-te-na 

. a-a “Nannar umun-e an-Sdr 7 

.umun “Nannar umun “ AS-im- 18 
ur-ra' 

. umun gu-la galu nin-gul-ma-al- 19 
la uru-7u ni-te-en-na Se-ir-ma- 

al-la ni-te-en-na 

. uru-7u Nippur-(k1) galu nin-gul- 20 
ma-al-la uru-7u 

. nigin kalam-ma-zu d-si-_ ma-ni- er 
1b-bi 

. [uru?| kalam-ma-da-7u gig-ga-an- 22: 
na-ag-es 

ay |gu-ga® (galu) a-ba an- 23 
lag'-eS 

et |gu-ga pag-da> ma-an- 24 
la-lal-la-ag(?)°-e§ 

.. 2... gu ba-ni-ib-gul 25 

ei ZU ba-n1-1b-sig-sig 20. 

.......HUL-AS-A (gloss) e-ga 27. 
Ai eoge 

ee A-ANCH UT... .¢-a 1b... .. 28. 

209. 

REVERSE 


lyfe thy ansaid 


Peli yin. ANCen Ul y~ cues 


327 


O father Nannar bright horned 
light of heaven, mighty of 
itself, (in thy excellence, yea 
thou in thy excellence), 


. Father Nannar, lord of all the 


heavens, 


. Lord Nannar, lord of the rising 


light, 


. Great lord, who himself has 


wrought evil to thy city,? 
mighty of himself, 


. As for thy city Nippur, he. who 


has wrought evil to thy city, 


EN bodes ad ic itak 3. 


Thy city and land are afflicted 
with woe. 

thiyeneses the 

scribes are driven away. 

.the 

augurers are exiled. 


Palilveyees sets) destroy ed: 


arena?) a @ ketal. @2 ca ye: eb € yy OP 0 eb 6-82 Cuneo Oey el Let le a0. 


ae 


[gu-ud nim] kur-ra [mu-lu ta-7u 
mu-un-7U| 


Exalted hero of the world, doth 
any one comprehend thy 
form?’ 


1 See BL. p. 132. 


21. e. Sin himself is the author of Nippur’s sorrows. 


3 Glossed kz. 


4 AH; transcription and interpretation uncertain. 
6 Hereby is established the reading pa(g)-da=midu, kapdu. 


Probably a kind of augurer. ~ 


6 Probably tautological writing for lallag=itabbulu, Voc. Hittite 7509. 
7 Cf. the first melody of the Ninurta series ga-ud nim kur-ra; see SBP. 226; BL. No. 9 and 
SBH. 4o. 


328 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


2. [kar-ra-|du Sa-ku-u $a ma-a-tim 2. 
kat-tuk [man-nu 1-lam-mad] 

3. alim-ma umun ur-sag-gal 3. Honored one, lord, great cham- 
pion. 

4. ur-sag-gal umun si “Mu-ul-lil- 4. Great champion, lord, light of 

la-ge Enlil. | 
5. alim-ma abil é-kur-ra 5. Honored one, son of Ekur.! 
6. ur-sag-gal_ umun é-Su-me-DU” 6G; ta champion, lord of ESume- 
ut. 
7. umun é-Sag-mag-a umun-e é-1-be- 7. Lord of ESamah, lord of E-ibe- 
Su-gud Sugud.? , 
8. umun sukkal-mag-di* gal-ukkin 8. Lord, great messenger, the her- 
“Nusku-ge ald Nusku. 

9. “Mas-tab-ba * Lugal-gir-ra 9. The twin god, Lugalgirra. 

10. dug-ga-7u mu-lu ta-7u mu-un-7Uu 10. As to thy commands, who com- 
prehends thy form? 

11. tag-a-zu mu-lu 11. As to thy succor, who compre- 
hends thy form? 

12. e-ne-em-zu mu-lu 12. As to thy word, who compre- 

| hends thy form? 

13. edin-na di-di edin-na Se-am-du 13. She wanders on the plain, on 
the plain she wails. | 

14. ama gasan tin-dib-ba edin-na 14. The mother, queen who gives 
life to the dead, on the plain 
wails. 

15. nin gasan nigin-gar-ra edin-na 15. The queen, lady Nigingar, on 
the plain wails. 

16. nin gasan Lara-ak-(ki)-ge® edin- 16. The queen, lady of Larak, on 

na the plain wails. 


* Similar passages have é-Sdr-ra (SBP. 226, 8; SBH. 40, 8) chapel of Ninlil in Ekur (SBP. 
PAIN 7 he 

* Temple of Ninurta in Nippur. A syllabary recently published by ScHEIL (RA. 14, 174 1. 7) 
explains the name by bit gi-mir par-si bammu, Temple which executes the totality of decrees. — 
Note, however, the epithet é 7-dé-ila=bit ni$ iné, House of the lifting of the eyes, SBP. 208, 11. 

* In any case an epithet of the temple of Urta in Dilbat, Ibe-"“Anum. For this reading J-be 
see vars. /-bi, Im-bi, BL. p. 134. The word ibi is probably Sumerian for igi, and shows that the 
phonetic rendering i-de is erroneous. The dialectic pronunciation of 1g7 was ibe and despite the 
Semitic variant imbi the name is apparently Sumerian [be-Anu, Temple of the eye of Anu. 
Here Su-gid is an epithet for Anu, i. e. the lofty. 


* See also SBH. 132, 46; BL. No. 56 Rev. 31; Craic, RT. 20, 30. This text has a variant a 
for dt. 


* Probably part of the great city Isin, see SBP. 160 n. =f 


STEPHEN LANGDON-—-SUMERIAN LITURGIES AND PSALMS 329 


17. nin gasan I-si-in-na-(k1) edin-na 17. [he queen, lady of Isin, on the 
plain wails. 
18. nin ama é-dir'-azag-ga edin-na 18. The queen, mother of the holy 
i city, on the plain wails. 
19. nin ama SU-HAL-BI* edin-na 19. The queen, the......mother, 
on the plain wails. 
20. * Ba-% nu-numuz Xdg-ga edin-na 20. Bau, the pious woman, on the 
plain wails. 
21. é& érab-ri-ri umun *%Sd-kut- 21. The abode, Erabriri, of the 
mag-a edin-a lord Sakutmah on the plain 
wails. 
22. e-lum-e la-lu u-u-a u-'u-a 22. Oh honored one, the exuberant, 
alas, alias: 
23. 96-dm mu-Sid-bi-im duppu 3-kam 23. Ninety-six is the number of its 
e-lum di-da-ra nu al-til lines. Third tablet of Elum 


didara, unfinished. 
24. gab-ri Bar-sip-(ki) kima labiri-Su 24. Copy from Barsippa, according 


Sa-tirsma barim duppu “Bél- to its original, written and 
ik-sur mari-su $a * Bél-iskun- collated. Tablet of Béliksur 
NI son of Belishkunni, 

25. mar Iddin-“Papsukkal  pa-lib 25. son of Iddin-Papsukkal wor- 
4-Nabu ina Xar-tum la ustesir shipper of Nebo. In fraud 
ina me-ris-tum la u-Sa-bi' he has not translated it and 


with wilful readings has he 
not published it. 


1 Probably variant of é-diir=aduri, kapru, village, city, PoEBEL, PBS. V 106 IV 30; see also 
Il Raw. 52, 61 f. Note the similar title of the city of Bau uru-azag-ga in SAK. 274; BL. 147. 
Here the title refers to Isin not Lagash. 

2 Cf. Craic, RT. I] 16, 18 “Ama-SU-HAL-BI-ta. 

3 Cf. CT. 12, 34 20; ina Sar-tu la uSteSir-Su u ina me-ris-tum la 1-kal-li, “By fraud he has not 
translated it and with wilful readings has he not published it.’’ For SuteSuru, “to translate or 
edit a tablet,” see LEHMANN, Shamash-shum-ukin, Taf. XXXIV 17 akkadi ana Sutesurt1, “to 
translate into Akkadian.” On this difficult passage concerning the education of ASurbanipal 
see Sumerian Grammar, p. 3 and corrections by UNenap in ZA. 31, 41. tkallt probably for ukallim; 
note the variant u$abi=uspt. 


330 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


6060 (No. 12) 
BABYLONIAN CULT SYMBOLS 


Ni. 6060, a Cassite tablet in four columns, yields a notable 
addition to the scant literature we now possess concerning Baby- 
lonian mystic symbols. A fragmentary Assyrian copy from the 
library of ASurbanipal was published by ZIMMERN as No. 27 
of his Ritual Tafeln. The Assyrian copy contains only fifteen 
symbols with their mystic identifications, in Col. I] of the 
obverse. The ends of the lines of the right half of Col. I are 
preserved on ZIMMERN 27, and these are all restored by the Cas- 
site original. The obverse of these two restored tablets contained 
about sixty symbols with their divine implications. Most of 
them are the names of plants, metals, cult utensils and sacrificial 
animals, each being identified with a deity. A tablet in the 
British Museum, dated in the 174th year of the Seleucid era or 
138 B. C., Spartola Collection I 131, published by STRASSMAIER, 
ZA. VI 241-4, begins with an astronomical myth concerning the 
summer and winter solstices! and then inserts a passage on the 
mystic meanings of ten symbols. The myth of the solstices 
runs as follows: 

“In the month Tammuz, 11th day, when the deities Minitti 
and Katuna, daughters of Esagila,? go unto Ezida® and in the 
month Kislev, 3d day, when the deities Gazbaba and Kazalsurra, 
daughters of Ezida, go unto Esagila—Why do they go? In the 
month Tammuz the nights are short. To lengthen the nights 
the daughters of Esagila go unto Ezida. Ezida is the house of 


‘Only in a loose sense. From Tammuz to Kislev is the period of death, from Kislev to 
Tammuz the period of revivification of nature. See on the meaning of this passage KUGLER, 
Im Bannkrets Babels 62-5. 

* Temple of Marduk in Babylon. 

* Temple of Nebo in Barsippa. 


we 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 331 


night. In the month Kislev, when the days are short, the 
daughters of Ezida to lengthen the days go unto Esagila. Esagila 
is the house of day.”” The tablet then explains the Sumerian 
ideogram gubarra = ASrat, the western mother goddess Ashtarte, 
and says that ASrat of Ezida is poverty stricken.!. But ASrat of 
Esagila is full of light and mighty.2. Some mystic connection 
between ASrat or GeStinanna, mistress of letters and astrology,’ 
scribe of the lower world, and the daughters of night and day 
existed. This cabalistic tablet here refers to a mirror which she 
holds in her hand and says she appeared on the 15th day to 
order the decisions. The 15th of the month Tammuz Is probably 
referred to or the beginning of the so-called dark period when the 
days begin to shorten and Nergal the blazing sun descends to the 
lower world to remain 160 days.* For some reason ASrat, here 
called the queen,® appears to order the decisions, probably the 
fates of those that die. The phrase ‘““The divine queen appeared”’ 
is usually said of the rising of stars or astral bodies, but the 
reference here is wholly obscure. As a star she was probably 
Virgo. At any rate some mystic pantomime must have been 
enacted in the month of Tammuz in which the daughters of 
Esagila and Ezida and the queen recorder of Sheol were the 
principal figures. The pantomime represented the passing of 
light, the reign of night and the judgment of the dead. Clearly 
an elaborate ritual attended by magic ceremonies characterized 
the ceremony. At this point the tablet gives a commentary on 


1 mas-da=muskénitu. 

2 Sarabitum. 

3 See Tammuz and Ishtar, p. 151. A%rat or the western Ashtoreth usually had the title bélit 
séri, “Lady of the plains” and was identified with the Babylonian GeStinanna and Nidaba. 
Hence [Bélit-]séri is dupSarrat irsitim, scribe of the lower world, K.B. VI 190, 47; cf. 1V R. 27 B 29. 

4 See lines 51-4 of this tablet. Nergal descends into the earth on the 18th of Tammuz and 
remains until the 28th of Kislev. 


5 lat Sorat. 


332 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


the mystic meaning of cult objects used for the healing of the 
sick or the atonement of a sinner. Obviously some connection 
exists between this mystagogy and the myth described. The 
commentary is probably intended to explain the hidden powers 
of the objects employed in the weird ritual, at any rate the 
mystery is thus explained.’ 

(1) Gypsum is the god Ninurta.? (2) Pitch is the asakku-de- 
mon.? (3) Meal water (which encloses the bed of the sick man) is 
Lugalgirra and Meslamtaea.* [A string of wet meal was laid about 
the bed of a sick man or about any object to guard them against 
demons. Hence meal water symbolizes the two gods who guard 
against demons. See especially EBELING, KTA. No. 60 Obv. 8 
zisurra talamme-Su, “Thou shalt enclose him with meal water.”] 

(4) Three meal cakes are Anu, Enlil and Ea.® (5) The design 
which is drawn before the bed is the net which overwhelms all 
evil. (6) The hide of a great bullis Anu. [Here the hide of the 
bull is the symbol of the heaven god as of Zeus Dolichaios in 
Asia Muinor.] 

(7) The copper gong*is Enlil. But in our tablet II 13 symbol 
of Nergal and in CT. 16, 24, 25 apparently of Anu. The term 
of comparison in any case 1s noise, bellowing. 

(8) The great reed spears which are set up at the head of the 


‘Here epitomized. It will be found transcribed and translated by ZIMMERN in his Zum 
Babylonischen Neujabrfest, p. 129. 

2 MAS. See below Col. II 15, gypsum is Ninurta, the god of war, primarily a god of light. 
Gypsum, Sum. im-bar, “radiant clay,” became symbolic of Ninurta because of its light trans- 
parent color. 

*So, because gypsum, lime and pitch are smeared on the door of the house and the god of 
light (Ninurta) tramples upon the demon of darkness. 

* Two inferior deities related to Nergal, god of the lower world. Their images placed at the 
enclosure of a house prevent the demons, ZIMMERN, Rt. 168, 21 f. The image of Lugalgirra 
designed on a wall prevents the devils, ibid. 166, 12. He binds the evil ones, IV R. 21* C III 26. 
The two are placed at the right and left of a door to forbid the devils to enter. Maklu VI 124. 

° The great trinity: heaven, earth and sea. 

° In any case a cult utensil on which a noise was made, CT. 16, 24, 32. 


STEPHEN LANGDON——-SUMERIAN LITURGIES AND PSALMS 333 


sick man are the seven great gods sons of IShara. The seven 
sons of [Shara are unknown, but this goddess was a water and 
vegetation deity closely connected with Nidaba goddess of the 
reed.1. The reed, therefore, symbolizes her sons. 

(9) The scapegoat is NinamaSazagga. Here the scapegoat 
typifies the genius of the flocks who supplies the goat. See, 
however, another explanation below Obv. II 17. 

(10) The censer is Azagsud. The deity Azagsud in both 
theological and cult texts is now male and now female. As a 
male deity he is the great priest of Enlil, CT. 24, 10, 12, and 
always a god of lustration closely connected with the fire god 
Gibil, Meek, BA. X pt. 1 No. 24, 42. But ordinarily Azagsud is 
a form of the grain goddess who was also associated with fire in 
the rites of purification. As a title of the grain goddess, see 
CT. 24, 9, 35=23, 17; SBP. 158, 64 A-sug where ZIMMERN, 
KL. 11 Rev. III 11 has Azag-sug. She is frequently associated 
with Ninhabursildu and Nidaba (the grain goddess) in rituals, 
ZIMMERN, Rt. 126, 27 and 29; 138, 14, etc. The censer prob- 
ably symbolizes both male and female aspects, the fire that burns 
and the grain that is burned. See below II 9, where the censer 
is symbol of Urasha a god of light. 

(11) The torch is Nusku the fire god in the Nippur pantheon. 
Below (II 10) the torch is Gibil, fire god in the Eridu pantheon. 

The mystic identifications do not always agree, but the term 
of comparison can generally be found if the origin and character 
of the deities are known and the nature of the symbol determined. 
Each god was associated with an animal and a plant and with 
other forms of nature over which they, presided. When the cult 
utensils are symbols the term of comparison is generally clear. 


ere eet 
1 See the Chicago Syllabar 230 where she is identified with Nidaba. 
2Cf. ZA. 16, 178, 27; BA. V 649, 3; Shurpu VIII ro. 


334 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


Below will be found such interpretations of these mysteries as 
the condition of the tablet and the limits of our knowledge permit. 
Most difficult of all are the metal symbols which begin with 
Obv. I 10. Here silver is heaven, but it can hardly be explained 
after the manner of the same connection of Zeus Dolichafos 
with silver in Kommagene. The cult of this Asiatic heaven 
god is said to have been chiefly practiced at a city in the region 
of silver mines.!. That is an impossible explanation in the case 
of Anu whose chief cult center was at Erech. The association 
of gold with Enmesharra, here obviously the earth god, is com- 
pletely unintelligible. In Obv. I 31 he is possibly associated with 
lead or copper as the planet Saturn. In lines I 14-18 the symbols 
are broken away, but they are probably based upon astronomy. 
Metals seem to be connected with fixed stars and planets on the 
principle of color. The metallic symbolism of the planets was 
well known to Byzantine writers who did not always agree in 
these matters. Their identifications are certainly a Grzeco- 
Roman heritage which in turn repose upon Babylonian tradition.? 
The following table taken from Cook, Zeus, p. 626, will illustrate 
Graeco-Roman ideas on this point: 
Kronos—lead (Saturn); Zeus—silver (Jupiter); Ares—iron 
(Mars); Helios—gold (Sun); Aphrodite—tin (Venus); Hermes 
—bronze ( Mercury); Selene—crystal (Moon). 
Our tablet preserves only the names of the deities at this 


‘So A. B. Cook, Zeus, 632. 1 would, however, entertain doubts concerning this explanation 
of silver as the emblem of the Asiatic Zeus and of Jupiter Dolichenus. The identification of this 
metal with the sky god in Babylonia and Kommagene surely reposes upon a more subtle idea. 
[For the explanation of silver=Anu and gold=Enlil, see p. 342.] 

* The Sabeans, a pagan Aramaic sect of Mesopotamia at Harran, are said to have assigned 
a metal to each planet. Since a considerable part of their religion was derived from Babylonia 
we may consider this direct evidence for the Babylonian origin of the entire tradition. For an 
account of the metals assigned to the planets by the Babylonians, Persians, Greeks and Ssabeans, 
see Bousset in Archiv fiir Religionswissenschaft 1901, article on “Die Himmelreise der Seele.’”’ 


I'he order of the planets, taken from the Byzantine list above, is based upon their relative dis- 
tances from the sun. 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 335 


point, and if metals stood at the left we are clearly authorized 
to interpret the divine names in their astralsense. This assumes, 
of course, that these astral identifications obtained in the Cassite 
period. Assuming this hypothesis we should have the metals 
for Beteigeuze, Ursa Major, Venus, Jupiter, Mars, Saturn, 
New-moon(?), a star in Orion, Venus as evening and morning 
star, Virgo, and perhaps others. 

The reverse of the tablet is even more mystic and subtle. 
The first section connects various cult substances with parts of 
the body. White wine and its bottle influence the eyes. White 
figs pertain to a woman’s breasts. Must or mead have power 
over the limbs as the members of motion. Terms of comparison 
fail to suggest themselves here and we are completely discon- 
certed by the fancy of the Babylonian mystagogue. In the 
next section, which is only partially preserved, we have twelve 
gods of the magic rituals. The province of each in relation to the 
city and state is defined. Kushu, the evil satyr who receives the 
sin-bearing scapegoat, hovers over the homes of men. Muhru, 
the deity who receives burnt offerings, or incarnation of the fires 
of sacrifice, dwells at the city-gate. Sakkut, a god of light and 
war, inexplicably protects the pools. Then follow hitherto 
undefined and unknown Cassite deities and a break in the 
tablet. 

As in the Assyrian duplicate, ZIMMERN Rt. 27, so also here, 
the reverse contains a lexicographical commentary on mytho- 
logical phrases. The name of the god Negun is commented upon 
here and most timely information is given. Both the phonetic 
reading of the name and the character of the deity are defined. 
The colophon at the end has the usual formula attached to cult 
instructions whose contents are forbidden to the uninitiated. 


336 UNIVERSITY MUSEUM—BABYLONIAN SECTION 
Lo ateub-ba cor t.| }! 1. The vessel of holy water.... 
[of the gods] ) 
2. *Nin-babur-sil-du nin(?) [ti-ti- 2. is Ninhabursildu,? queen of in- 
gel? cantations. ) 
3. “*ean-nu-tirt %[ |MES- 3. The little kannu-vessel is the 
GAR deity ee ones 
4. **Sinig *%A-nim 4. The tamarisk is Anu. 
5. *Sag-giSimmar® *Dumu-zi 5. The date palm-head is Tammuz. 
6. *in-nu-us? Sieg 6. The mashtakal-plant is Ea. 
7. &Syl-g1 *Nin-urta 7. The Salalu-reed is Ninurta. 
8. “els . * Nina? 8. The El-plant. is Nina. 


a I AEE NT SNUG fe TES TAT ie.) oy cp 


* Restoration from Zim. Rt. 27. 

* This deity appears in incantations as the queen of the holy waters bélit egubbé, 1V R. 28*b 16; 
Bab. I11 28, Sm. 491, 3. Although placed in the court of Enlil the earth god as sister of Enlil 
by the theologians, CT. 24, 11, 40=24, 52, where she is associated with a special deity of holy 
water, “4-gub-ba, yet by function and character she belongs to the water cult of Eridu. Her 
symbol is the holy water jar (duk) agubba and the deity “Agubba is Su-lug lag-lag-ga Erida-ge, 
Purifying handwasher of Eridu, CT. 24, 11, A41=24, 53. The river goddess “Jd is also bélit 
agubbé, CT. 16, 7, 255 where in 1. 254 Ninbabursildu is abat “A-[gub-ba], sister of A gubba, and the 
river goddess is mother of Enki, or Ea, god of the sea, CT. 24, 1,25. The reading babur for 
A-HA is most probable, and the cognate or dialectic form hubur is a name for the mysterious sea 
that surrounds the world. See BL. 115 n.2. The holy water over which she presides is taken 


from the apsu or nether sea, which issues from springs, hence egubbi is spring water, CT. panty. 


[If 1. The name, then, really means “Queen of the lower world river, she that walks (du) the 
streets (s7l).”” The,Semitic scribe of CT. 25, 49, © renders the name in a loose way by bélit télilti 
bélit Alikat sulé [rapSati], Queen of lustration, queen that walks the [wide] streets (of the lower 
world). For the title bélit télilti, see CT. 26, 42114. Fora parallel to the description of her 
walking the streets of inferno, cf. “Kal-Sdg-ga sil-dagal-la edin-na, Lady of purity who (walks) the 
wide streets of the plain (of inferno), consort of Irragal, god of the lower world, SBP. 158, 59. A 
variant, KL. 16 III 8 has stl-gig-edin-na, the dark street, etc. 

* Conjectural restoration from ASKT. 96,21. ZiIMMERN, Rt. 271 3-4 has a longer description 
of [Ninbabursildu a-ba-lat (44 -gub-ba bélit] mé(?) ¥a nari(?). 

* Variant of kan-tar, V Raw. 42, 30. 

°In K. 165 Rev. 8 f. the tamarisk and date palm are said to be created in heaven (gi¥ an-na 
u-ti) and the same is said of them in Gudea, Cyl. B 4, 10, giS-Sinig git-Sekka (i.e. = Sig = giSimmaru) 
an u-tud-da. This plant appears frequently in magic rituals, IV R. 596 4 “bi-ni (Semitic), IV R. 
16b 31, Shurpu 1X 1-8, and also in medical texts. binu has been identified with Syriac bind, 
tamarisk. If this identification be correct, a comparison with the Hebrew legend of the manna 
(bread of heaven in Psalms 105, 40), said to have been the exudation of the tamarisk, is possible. 

° Semitic ukuru, Aramaic kérd, see MEIssNER, MVAG. 1913, 2 p. 40 and BE. 31, 69 n. 2. 
Used both in medicine and magic. 
4 Passim in rituals and medicine. See BE. 31, 69, 27; 72,29; Kine, Magic 11, 44; MEISSNER, 
SAI. 2805, 

. * In Shurpu VIII 70 mentioned with ¥alalu. A magic ointment made of the El and ma¥takal, 
CT; 34,9, 41. See also EBetinc, KTA. 90 rev. 17; Kinc, Magic 30, 25. Perhaps identical in 
name with the stone arzallu, SAI. 8545. Ona Dublin tablet often gis EL. Cf. %-sig-el-Sar= 
Sému, onion, , | 


* For the correct reading ni-nd-a, see AJSL. XXXIII 194, 159. 


*) ee ——————E———E— 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 337 


9. gisburru' *Gir-r@ 9. The giSbur wood is the Fire God 
Girra. 
10. ?4%kubabbar YGALS 10. Silveristhe great god(the moon). 
11. 42ky-gi 4: En-me-Sar-ra* 11. Gold is Enme§%arra (the sun). 
12. 8urudu 4 Fg 12. Copper is Ea. 
13. 29£an-na 4-Nin-mag 13. Lead is Ninmah.° 
14. [ 1° 4-Ninurta ed ] is Ninurta. 
sell | ¢Ninlil? 15.°| ] is Ninlil. 
16. [ | * Dilbat 16. [ ] is Ishtar-Venus. 
17. [ | *“AMAR-RA-GE- ref ] is Marduk-Jupiter. 
UD-DU-A-LU-TU® 
18. [ ] “Lugal-gis-a-tu-gab- 18. [ ] is Nergal-Mars. 
lik-a° 
19. [ | ¢ Sak-kud: Tose ] is Ninurta-Saturn.'° 
20. | ] “Nuskut 20. | ] is Nusku. 
BYe:| ] “Pap-sukkal” 7 at ] is Papsukal. 


rune meer er ee 


1 Here a wood employed in magic, cf. BE. 31, 60, 6+15. In syllabars gis-BUR=gisburru, 
giskirru, indicates a weapon or an utensil. 

2 NITA-DU, fire god, title of Nergal as fire god and identical with 4047 =Nergal. 

3 Here certainly Anu, heaven god, followed by Earth and Sea gods. Note also “Gu-la in 
liturgies passim as title of Anu, BL. 136. Anu=Sin, see p. 342. 
taj © « Title of Enlil, lord of the totality of decrees. Enlil = Sama’. 

5 Originally title of the great unmarried mother goddess bélit ildni, but often a title of the 
virgin types Innini and Nina, BL. 141; of Gula ibid. Also somewhat frequently she is Damkina, 
consort of Ea, IV R. 54b 47; CT. 33, 3, 21 her star beside that of Ea. Here she is the mother 
goddess and the same order, Heaven, Earth, Sea, Mother Goddess in Shurpu IV 42, where 
Nin-mag has the Var. Nin-tud, Epetinc, KTA. p. 121, II. Symbols of these four deities on 
boundary stones in same register, Hinke, 4 New Boundary Stone, p. 28 second register, et passim. 

6 Possibly a metal stood here, identified with “MAS, a star in Orion (Kaksidi= Beteigeuze), 
CT. 33, 2, 6; Kine, Magic 50, 29. 

7 Possibly the constellation Ursa Major. Margidda, the Wagon is intended, identified: with 
Ninlil on a Berlin text, WEIDNER, Handbuch 79, 10. See also BEZOLD in DeIMEL, Pantheon 
Babylonicum 215. 

8 From the context certainly a title of Marduk. Zim. 27 ! 19 omits LU-TU. 

9Or Bél-sarbe, title of Nergal, v. VAB. IV 170, 67. Between lines 17 and 18 the variant 
inserts two lines. 

10 But Mars in Amos 5, 26. I accept here the later identifications, Nergal-Mars, Ninurta- 
Saturn. The identifications in the earlier period of Babylonian astronomy appear to have been 
Ninurta-Mars and Nergal-Saturn. 

1 Probably the astronomical form of Nusku as god of the new moon, IV R. 234 4. His char- 
acter as fire god is symbolized by the torch, ZA. VI 242, 24. In II 10 supply Gibil after ZIMMERN 
RT. 27, 5. As fire god he is messenger of Enlil. 


: bey 2 Papsukal, messenger of Zamama, god of Ki’, a form of Ninurta. He also like Nusku 


derives his messenger character from his connection with light, Papsukal Sa Se-ir-tt, Papsukal of 
the morning light, CT. 24, 40, 53. Since Ninurta is identified with Alpha of Orion, Pap-sukal is 


338 UNIVERSITY MUSEUM—BABYLONIAN SECTION 


22.*[ -\¥ag *Sak-kut! Bora ] is Sakkut. 
430 -|SID *Ram-ma-nu 2a ] is Ramman. 
EW ed | "47 shtar Uruk-(ki) 24.0 ] is Ishtar of Erech.? 
25. { |''Ishtar A-ga-de-(ki) 255-4 | is Ishtar of Agade.* 
26. -|TAR " Be-lit-séri 26. [ ] is Bélit-seri.4 
277. | | *Nin-lil 27a ] is Ninlil. 
28. | ri-|kis-su-nu “Ninurta Bon | ] their band(?) is Nin- 
urta. 
20.4 | alani sibittt® On| | is the seven gods. 
30. | | “En-me-Sdr-ra 3 Olt ] is Enmesharra.° 
OBVERSE II 
2. gis | | ke | 2. 
3. g2s [ | & ] 3. [ ] 
4. Sim | lagers | hs) | 
5. Sim-Sal? [e: | 5. Box-wood is the god......... 
6. gi-dug-ga® ie | 6. The good reed is the god...... 


we 
identified with one of the stars in Orion, CT. 33.2 Ul igs mul -'b_2i-an-na “Pap-sukal [sukal “Anim 
[Star] restored from VirOLLEAUD, Supplement LXVII 10. Here he is messenger of heaven and of 
Ishtar as Venus, queen of heaven, that is, he isa messenger of the powers of celestial light. Nusku 
and Pap-sukal often occur together in magic texts, Shurpu VIII 10. 

‘Here probably Sakkut as lord of light and justice, god of Isin, in his normal capacity. 
See BL. 120 n. 6. His emblem is something made of date palm, Sag, gi8immar. This deity is 
unknown in magic texts except in ZIMMERN, Rt. 70, 8. 

Ishtar of Erech is Venus as evening star, the effeminate Venus of Erech, see Tammuz 
and Ishtar, 54 and 180 n. 4. 

* Venus as morning star. The Ishtar of Agade was the type of war goddess, see op. cit. Pp. 100; 
hence Venus as morning star is sometimes called the Bow Star, KUGLER, Sternkunde II 108. 

* Western title of GeStinanna, sister of Ishtar. Here perhaps the constellation Virgo. 

® The seven gods are the Pleiades, CT. 33, 2, 44. Since they are followed by Enmesharra 
perhaps here to be identified with the seven sons of Enmesharra (see BE.31, 35). In ZA. VI 242, 
20 gi-uru-gal-mes, ‘the great reed spears” are symbols of the seven great gods, sons of I Shara. 
But traces of the last sign are not those of MES here. 

° {n astronomy a form of Nin-urta= Saturn, but by character allied to Nergal a lower world 
deity. See line 11 above. For E. as Saturn note V Raw. 46a 21, his star UDU-LIM and II R. 
48, 52 the same star is “UDU-BAD-sag-u3 = kaimanu, Saturn. See also BE. 31, 35 n. 4 line 12, 
kaimdanu title of Enmesharra. 

‘ SimeSSalfi employed in medical texts, see SAI. 3574 and JAstrow, Medical Text Rev. 5. 
Here also without gi¥. Homa, Beitrdge zum assyrischen Lexicon, p. 85, identified it with Syr. 
SamSara, Persian and Arabic SimSar. 


* Passim in medical and incantation texts, CT. 23, 45,9; RA. 14, 88, 6; EBeLInc, KTA. 
26 R. 20; IV R. 55 No. 2, 18.. etc: 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 339 
7. Sim-li “IImmer 7. Cypress is Adad. 
8. Sipati burrumti? *Labartu(?)? 8. Wool of variegated color is 
marlat “Anim | Labartu daughter of Anu. 
9. Sim-ZU' “(Nin-urta | 9. The aromat-ZU is Ninurta. 
10. nig-na 4 Urasa 10. Thecenser is Urasha.® 
11. gi-bil-la omit Gi-bil| 11. The torch is Gibil.é 
12. ku-ta-ri 1bbiiti? 4-1 Ne-gun| 12. The clean incense is Negun.® 
13. mul-lil-lum Ig{i-BALAG® In 13. The amphora(?) is Igi-BALAG, 
nu-gis-Sar © En-lil-ld] gardener of Enlil. 
14. “""*"nie-kalag-ga° *Nin-[sar 14. The copper kettledrum is 
+ Nergall Ninsar," that is Nergal. 
15. kus-gi-gal *(NINDA+GUD] 15. The hide of a great bull is 
NINDA+GUD® 
16. im-bar “(Utu-gal-lu] 16. Gypsum is the storm god (Nin- 
; urta)!4 
Ue aye 44d 17. Bitumen is the river god." 


18. mas-gul-dub-ba-a *1Ku-Su] 18. The scapegoat is Kushu.'® 


1 Here variant Zim. Rt. 27 Obv. II begins. 

2 Written sig dar-a. 

’ The name of this deity is not legible in ZIMMERN’s variant and the first sign of the name 
on the Nippur text is doubtful but apparently the SeSSzg and gunu of Galu, that is REC. 100 later 
RAB+GAN, (v. SAI. p. 155 note 1). After this sign ZIMMERN and I have seen a sign KU or SU. 
Labartu is usually written RAB+-GAN-ME. Here we may have to do with some new ideogram 
for this deity. She is the daughter of Anu, Haupt, ASKT. 94, 59. A prayer to the daughter of 
Anu is Kine, Magic No. 61, 5-21. 

4 Zim. SU. 

> But in ZA. VI 242, 23 symbol of Azagsud. 

® But ZA. VI 242, 24 Nusku, fire god in Nippur pantheon. 

7 See Muss-ArRNOLtT, p. 940. Also note niknakku Sa ku-ta-ri, censer of incense, CT. 29, 50, 9; 
kutart $a $ipti, incense pertaining to the ritual of the incantation, ibid. 20. kutari is a plural form 
employed to denote several acts of fumigation. 

8 Reading established by Rev. II 8. But see MEEK, AJSL.31, 287, li-si<ne-su(n) gloss on the 
star Ne-sin; son of Ninlil, hence a star in Ninlil’s constellation Ursa Major, VIROLLEAUD, Sin 
XIII 22. 

® Perhaps igt-sig-sig; cf. CT. 24, 3, 25. 

10 In ZA. VI 242, 19, symbol of Enlil. 
with kuSgugala. 

11 Sword bearer (nd¥ patri) of Enlil, CT. 24, 10, 16. 

22 Symbol of Anu in ZA. VI 242, 19. 

13 Priest of Enlil, CT. 24, 10, 13. Cf. GUD-NINDA =miru, young ox, SBG. 19, 14. 

4 ZA. VI 242, 15 gypsum is “MAS. 

1 But ZA. VI 242, 15 bitumen is the asakku demon. 

16 A pest demon son of Anu, III R. 69, 70. On the other hand, ZA. VI 246, 22 the scapegoat 
represents the patron of flocks NinamaSazag who supplies the goat. When sin is transferred to 
the goat it falls under the protection.of Kushu. See Rev. I 6. 


But CT. 16, 24,25 heroof Anu. In rituals generally 


UNIVERSITY MUSEUM—BABYLONIAN SECTION 


340 

19. udu-ti-la' 4-(Giral 19. “The living lamb” is Gira.’ 

20. mas-gi-bil-la 4-1 Mu-ub-|ra 20. The goat of the torch? is Mubru. 

21. Se-bir-bir-ri_ u-pu-un-tum 21. “Scattered grain(?),”’ chick pea 
oa 

Dahir ere ma-ka-lu-u 22. seed-corn, eating table and 

23. kka-gaz?’§ = *Nun-tir-ra * Ea! 23. the kagaz-pots are Ninurra-Ea. 

24. &Sku-ma-nu 7 t-mu> ku “Mar- 24. The seven (headed) weapon of 

duk laurel wood, the storm, the 

weapon of Marduk. 

25. ki-gi-sig?* 4. 4-nun-na-ki 25. Red sun-disks(?) are the Anun- 
naki. 

26. kit-gi nig-mds-zid® * Mas-tab-ba- 26. The golden sacred kid(?) is the 

gal-ga Great Twins.’ 

27. mas-dit 4-U/n-gal Nibru-*® 27. The kid is Ungal® of Nippur. 

28. kur-gi-(gu) *-Nin-sig 28. The crane is Ninsig.° 

29. stn ®erin Sita’ *Z1-1 29. The sun of cedar, weapon ct 
fAsie 

B09 101 nae Z| | 30. Honey....is the god. 7... 

BD tealinnecwan li 3 by Oia Gilets: 

32. Odie eet l 32 eee River-god, god....... 


Note CT. 24, 14, 41, 4Nun-tr-ra(duk) ka-[gaz]. 


' Cf. 4En-udu-til-la, SBP. 150 n. 5 1. 8. 
2 Patron of flocks and fire god. 
’ That is burnt offering. 


41. e. Ea as the god of potters. Nunurra is pabaru rabi of Anu, MEEK BA. X pt. 1 p. 42, 14. 


5 Sic! Semitic. 
Cri VO RsessNos4¢chevess 
’ Lugalgirra and Meslamtaea. 


The symbols in lines 24-6 are obscure. 


* The temple of Gula and Ungal of Nippur, CLay, BE. XV 34, 2. Ungal=téntsét1, population. 
God of the people of Nippur. 
* A form of Enki as patron of metallurgy. See RA. 12, 83 n. 5. 


10 


5505 Obv. II 15. 
'' Sign a confusion of NJ+ gi and KAK+ 415, see RA. 13, 3. 


sun probable reading for BAD in this sense. Offerings to the g15-suwn, GENOUILLAC, Drehem, 


' Zu, the eagle, bird of the blazing sun, Ninurta, Ningirsu, is the only emblematic animal that 
figures as a deity. The myth of his conflict with the serpent in the story of Etana dramatizes 
the old legend of the conflict between sun and clouds. He appears in magic here for the first time. 


aod 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 341 


REVERSE | 


. karanu ellu kakkul-ti end-*u 


_— 


. White wine and bottle are his 
eyes. 


_ 


2. tittu pisitu' tulé-Su? 2. The white fig is her breasts. 

3. *“nurmi bir-ka-a-Su 3. The nur-fig is his (her) knees. 
4. tittu k1-sal-la-a-su 4. The fig is his (her) loins. 

5. mirsu pit puridi-su 5. Must is his (her) crotch. 
ernie meee ere ee en 
6. *Ku-Si sér k1-1-s1' 6. The god Kushu over the cham- 

ber. 

7. *Mu-ub-ra ina pan abulli 7. Muhru before the city gate. 

8. “Sak-kut ina kabal appari 8. Sakkut in the midst of the pool. 
9. *Si-lak-ki® ina ma-na-ha-ti 9. Silakki in the ruins. 

10. + F-ku-rum® ina libbi Sér iSdi 10. Ekurum in the leg. 

11. *Ab-ba-  gu-la™ ina igari 11. Abbagula in the wall. 

Oe ar ina nastkati 12, | | in the fortress. 
(boii Rk 2s gle, a 13-17. 

18. 12 zanzi [ | 18. Twelve gods. 


REVERSE II 


1. [SAG-GIR]-ME $a ina pani-su 1. The battle which before him 
namru® gleams. 
ety KU)-SU la? mab-ru 2. ....not are received. 
2 | -ju:NU: la-a Pail | NU =not. 
An BT :]Su-u!: [LA :ma- Ave! |BI =that:/LA =to 
ba-ri present. 


1See Vab. IV 154, 44 and note. 

2 Su here for Sa, feminine. The form should be dual. 

3 Gunu of MA =tittu; Sumerian peS, value also assigned to MA =?ittu in the Chicago Syllabar, 
115 f. 

4 kisu, compensation for kissu. See also STRASSMAIER, Nabonidus 699, 24, ki-su. Note that 
the bulduppu (probably an image of a scapegoat) symbol of KuSi is placed opposite the door in 
Zim. Rt. p. 168, 29. 

5 CLay, Personal Names of the Cassite Period, mentions a deity S1-lak-ku-ku(?). Inany casea 
Cassite deity not mentioned in Babylonian lists and texts. 

6 Otherwise unknown. A Cassite deity(?). 

7 Probably same as Abagal, DEIMEL, Pantheon, p. 43. 

8 Cf. ZIMMERN, 27 R. 14-17 

® Written NU. Cf. ZIMMERN, 27 Rev. I 19. 

al 1btd © 27, 


342 


5. [*Ne-gun] erim-bi nu-tuk-a ai-b1 
ina katé-Su la ustint 


6. NE-RU:ai-bi: ID: ka-tt: TUK-A 
SAL-SES? 

7. *Ne-gun' ka-lu-u 1-Sa-tam 

8. HU-gunu': gu-nu-u: SI: ka-lu-u 


9. NE:i-Sa-tu:sa-nis ka-lu ni-ka 


10. SAL-SES?: ba-nu-th: ga-lu 
11. SI :ba-nu-t:NE ga-lu 


UNIVERSITY MUSEUM—BABYLONIAN SECTION 


5. Negun who foes has not. The 
wicked from his hand escape 
not. 

6. NE-RU =wicked: ]D =hand: 
pant 

7. Negun is he that burns with fire. 


8. The gunu of HU has the syllabic 


value guni:si(g) =to burn. 
9. NE=fire: Or=to consume 
offerings 1n fire. 


10. ninmus = blaze, burn. 
11. si(g) =blaze: bil = burn. 


eee ee ee 


12. miidt mitida li-kal-lim 


13. la midi ul immar 


ki-ma labiri-su *'“Ninurta-nasir 
mar Ilu-ikisa °"*“asipu iStur 


biti E-Su-me-ra 


12. Let the knowing inform the 


knowing. 


13. He that knows not may not 


read. 

According to its original Nin- 
urtu-nasir son of Ilu-ikiSa, 
the priest of magic wrote. 
It is the property of the 
temple ESumera.* 


1 Sign is HU-gunu an error for SI-gunu. Only the latter sign has the values bright, burn. 
Line 8 proves that the sign is based on S/. 

2 nin-mus. The sign SES has the value mus. Note SAI. 2629 the gloss ga-an-SES and 
variant Chicago Syllabar 212 ga-an-mu. See also JRAS. 1905, 81-4-28 |. 14. For mus = bant 
cf. SAT. 1916. 

3 This is a real library note and is clear evidence for assuming that the temple of Nippur 
possessed a library, at least in the Cassite period. For similar library notes on the tablets from 
A&Sur, see RA. 13, gg. Note also the Smith Esagila tablet published by ScHeiL, Memotres de 
l’ Academie des Inscriptions et Belles Lettres XXXIX, Rev. 7, midi midé likallim la midéa ul 
immar an pi duppi gabri Barsip-ki Satir-ma UB-TU 1 ba-ri. For an pi (KA), see RA. 13, 92. 


— 


ADDENDUM. ON-OBWV. Ib1o EF. . 


Anu in this passage really denotes Sin, the moon, which 
has been connected with silver on account of its color. The 
identification of Anu, the heaven god, with the moon god rests 
upon the astronomical connection between the moon and the 
summer solstice, see WEIDNER, Handbuch der Babylonischen 
Astronomie, 32. Sin is called “‘Anu of heaven,” Kinc, Magic, 
No. 1, 9, and for the connection with silver, see VIROLLEAUD, 
Astrologie, Supplement, V II, kaspu “A-nu burasu “Entil 
ert Ea. Enlil is connected with gold in VIROLLEAUD, 
Astrologie, Second Supplement, XVII 14, and Enlil is not infre- 
quently identified with Shamash, see p. 158, 1-2 and p. 308, 18, 
and gold is the traditional metal of the sun. 

The Greek identification of Zeus, the sky-god, with silver is 
certainly borrowed from Babylonia; see p. 334. 


(343) 


DESCRIPTIONZORS VABIEEaS 


NUMBER IN 


THIS VOLUME 


I 


MuSEUM 
NUMBER 


DESCRIPTION 


13856 


11005 


7847 


15204 


| 
| 


Large two column tablet. Unbaked; light 
brown with dark spots. Top broken away 
and left lower corner damaged. H. 63inches; 
W. 44; T. 12-4.- Liturgy. of the cult of 
Ishme-Dagan. See pages 245-257. 

Upper part of a large two column tablet. 
Unbaked; light brown. Top and left edge 
of the fragment damaged. H. 32; W. 33; 
T. 14-2. Liturgy of Ishme-Dagan. See 
pages 258-250. 

Dark brown unbaked tablet. Right upper 
corner slightly damaged. Right lower corner 
broken away. Twocolumns. H. 8; W. 53; 
T. 1-3. Mythological hymn to Innini. The 
obverse is translated on pages 260 to 264, but 
the reverse is too badly damaged to permit 
an interpretation. The text ends with the 
line, “Oh praise Innini,” the literary note 
characteristic of epical compositions. The 
scribe adds a note stating that there are 153 
lines. Written by the hand of Lugal-ge-a.. 
....son of E-a-1-lu(?).... 

Light brown fragment from the left upper corner 
of a large unbaked tablet. H. 34; W. 14-1; 
T. 13-1.,- Duplicatesof 78475) #1 his tables 
omits the liturgical note, “Oh praise Innini.” 
It has the colophon, “Written by the hand of 
Ninurash-mu......, in the presence of 
Nidaba-igi-pa(?)-... ge-en.”’ 

Single column, dark brown tablet. Partly 
baked. Left lower corner broken away. 
H. 44; W. 24; T. 12-4. Psalm to Enlil. 
See pages 265-268. 


(44) 


STEPHEN LANGDON—SUMERIAN LITURGIES AND PSALMS 345 


NUMBER IN MuSEUM 

THIS VOLUME NUMBER 
6 2154 
7 8097 
8 340 
9 8334 
10 8533 
I] 7080 
12 6060 
13 BM. 78239 
14 11327 


DESCRIPTION 


Single column, light brown tablet. Top and 


left lower corner broken. H. 43; W. 23; 
T.*14-4. - Lamentation for Lagash. | See 
pages 268-272. 

Single column, light brown tablet. Lower edge 
damaged. H. 44; W.2%; T.2-4. Liturgical 
hymn to Sin. See pages 276-279. 

Single column, dark unbaked tablet. Damaged 
at top and bottom. H.4; W. 23; T. 1-4. 
Bilingual hymn. See plate 86. 

Single column, light brown tablet, unbaked. 
Left upper corner and top of reverse damaged. 
H. 42; W. 24; T. 14-4. Hymn to Innini. 

Upper part of a large two column tablet. Light 
brown, soft and crumbling. Purchased by 
the Expedition in 1895, from Abu Hatab. 
H. 32; W. 54; T. 14-4. Hymn to Enlil. 

Large light brown tablet; five columns; broken 
perpendicularly at the middle. Isin period. 
H.81;W.4; T.2. Liturgy to Enlil. Lamen- 
tation fo. the city of Ur. See pages 279-285. 

Nearly complete tablet; baked. Temple 
Library (IV). Second Exp. Two column 
tablet; Cassite period. H.4; W. 33; T. 13. 
Cult symbols. See pages 320-342. 

Upper half of large single column tablet. Light 
brown partially baked, “H:.75. Wi 67 Tia 
Acquired by the British Museum in 1888. 
Late Babylonian edition of the third tablet 
of the liturgy elum didara to Enlil. See 
pages 323-320. 

Lower part of a large unbaked tablet, two col- 
umns. Right half almost wholly broken 
away. Myth of the water god Enki. H. 6; 
W. 63; T. 13. Probably a 7ag-sal hymn. 


INDEX 


MusEUM 
NUMBER 
340 
2154 
6060 
7080 
7847 
7848 
8097 
8334 
8533 
11005 
C1327 
13856 
15204 
B. M. 78239 


OFVTABWE NS 


NUMBER IN 
THIS VOLUME 


OTHER TABLETS TRANSLATEDSOR DISGUSSED 


Nies 1315 \ 
Tablet Virolleaud f «*** °° 
Poebel, PBS. V No. 26. . 
Myhrman, PBS. I No. 5 
Radau, BE. 30, No. 2 
Myhrman, PBS. I No. 8. 
Zimmern, KL. No. 11. 
Zimmern, Ritual hie ‘No. 


» fra a oe 


PAGES 


290-308 
. .272-276 
.285—290 


. .309-310 
. .290-308 


- -330-340 


Ashmolean Prism. 


PAGES 


- 311-323 


Strassmaier, ZA. ah putea 330-333 


Reisner, SBH. No. 18... 
Reisner, SBH. No. 21... 
Reisner, SBH. No. 22... 
Reisner, SBHS Novas: 


(346) 


- 327-329 
|. 292-207 
. .292-205 
. .300-302 


SUBS. IRON AVG) < 


abal, irrigator, 287, 12. 

Abbagula (deity), 341, LI. 

agubba, vessel, symbol of Ninhabur- 
sildu, 336, 1. 

Aja (goddess), 305, 14. 

Allat (goddess), 306, 20. 

am, °Am, title of Ea, 294. 

Ama-Suhalbi, title of mother god- 
deéss, 320, 10. 

Ama-uSum-gal, title of Tammuz, 

304. 

Annigarra, temple in Isin, 300, 7. 

Pra CO fee201 204° 251; 2825 


2905; 2907; 302. Identified with 
the moon god, 337, 10. 

Anunnaki (gods), 247, 2; 262; 
317; 340. 


Arabu, bird of Enlil, 266. 

Aralu, 288, 23. 

Aruru (goddess), sister of Enlil, 301. 

ASimur, title of moon god, 277, 17 
and 22; 278. 

ASnan (goddess), 289; 305. 

ASSirgi (god), 316; 317; 318; 319; 
320. 

ASte, temple in Larak, 280, 9. 

Azagsud (ilu), title of grain goddess, 
280, 10; 305, 13. 

Babylon (city), 301, 22. 

balag-di, choral phrase, 250, 14; 
5A: 

Barsippa (city), 301, 23. 

Bau (goddess), 329; 305. 

Belit-séri (goddess), 338. 

Bel-sarbe, title of Nergal, 337, 18. 

bitumen, symbol of river god, 339. 


(347) 


Canonical liturgies, 237 ff. 
censer, symbol of Urasha, 339, 10. 
copper, symbol of Ea, 337, 12. 
crane, bird symbol of Ninsig, 340. 
Damgalnunna (goddess), 294; 206. 
Damu, title of Tammuz, 287, 6:14; 
306, 28. | 
date-palm, symbol of Tammuz, 336, 


5. 

Dilbat (goddess), 337, 16. 

Dilmun (ki), 279, 14:19. 

dog, seven-headed, 305, 15. 

Duazag, sanctuary, 248, 7; 280. 

dumu-sag, title of TaSmet, 326, 4:5. 
dingir dumu-sag (=Nappasi= 
Ninmungara) is probably a title 
of Ninlil, 303, 13. See zbid. note 6 
and SBP. 150 note 5, line 14. 

Ea (god), 336, 6. 

E-anna, temple of [Star in Erech, 
BOE 

E-barra, temple of the sun god, 301. 

E-daranna, chapel of Ea in Esagila, 
301. 

E-dimma, temple, royal chapel in 
Ekur, 289, 15. 

E-durazagga, epithet of Isin, 320, 
18. 

E-galmah, temple at Isin, 280, 109. 

e-gi-a, bride, title of Zarpanit, 326, 3. 

E-Ibi-anum, temple in Dilbat, 326. 

E-Ibe-Sagud, 328. 

E-kua, 310, 19. 

E-kur, temple of Enlil, 256; 258; 
DROMEeOO 4300, 831070420: 

Ekurum (god), 341. 


348 INDEX 


E-lamma, chapel or temple of Ninhil 
at Nippur, 300, 6. 

el-plant, symbol of Nina, 336, 8. 

E-maha, 294, 27 and note. 

E-mahtila, chapel in Ezida, 301. 

E-mudkurramu, chapel (?) in Ur (?), 
279, 6:10. 

E-namtila, chapel of Ekur, 301. 

Enanun, title of mother goddess, 
289, 7; 304. 

Enbul (god), son of ESabba, 303, 21 
=SBPr-rs2to ands Chl essa, 
127. Var. *A-an-bu-bu, CT. 24, 
Di23: 

Endasurimma, title of Enlil, 302, 4. 

En-duazag, title of Enlil, 302. 

EN-HAR(ki), 316; 317; 318; 310; 
320. 

Enki(god)s-25010 3302) 23075322. 

Enlil. (god), 253; 259; 261; 264; 
2055. 2003222074 200,200 waa 
piel atlas wepleshrwlepa islepty 19) 
290} ~300; 30259307; 300mm AS 
sun god, 308, 18 and 15. 

Enlilsi, deified king, 303, 20. 

EnmeSarra (god), 337, 11; 338, 30. 
EnmenSarra, 302. 

Enul, title of Enlil, 302. 
307. 

Enuttilla, title of Enlil, 302. 

E-rabriri, temple of sakkut, 320, 21. 

Erech (city), (27270299 = aod 

Eridu (city), 259, 16; 299, 31. 

E-Sabba, temple of Gula in Surup- 
pak, 288, 6; 303, 21; "**Suddam is 
mother of ESabba, 306, 32. See 
Suddam. 

E-sagila, temple of Marduk, 301; 
320. 

E-Sagnamsar, temple in Dilmun, 
279, 14:10. 


Enmul, 


E-Samah, temple of Ninurta, 328, 
7P SCG LD 174 Deets 9) 

E-Sarra, 303, 16. Nuinurta is son of 
E-Sar-ra, BL. No. 9, 8. Mytho- 
logical chamber in Ekur, SBP. 
221n.7. IStar weeps for E-S4ar-e, 
KE i232 Obv bisa 

ESnunak (city), 304, 27. 

E-Sumera, temple of Ninurta in 
Nippur, 328, 6; 342, 13. 

E-temenanki, stage tower in Baby- 
lon, 301. 

E-zida, temple of Nebo, 301. 

gannu-tur, vessel, symbol of a deity, 
330, 3. 

gepar, dark chamber, 270, 24; 271; 
2728 

geStinanna (goddess), 304. 

Gibil, firegod, 339, 11; 305, 16. 

gidugga, reed, 338, 6. 

Girra, firegod, 337, 9. 

gisburru, a wood, symbol of firegod, 
337; 9. 

gisgigal, antiphon, 251, 24; 254, 23; 
283, 26; 284, I0. 

Giszida (god), 287, 7. 

gold, symbol of sun, 337, 11. 

gudede, title of Ninlil, 303, 12. 

Gula (goddess), consort of Tammuz, 
285. 

Gunura, title of mother goddess, 
288;.5;°300,.27 =S BP alGomia, 

GuSkinbanda, title of Ea, 305, o. 

gypsum, symbol of Ninurta, 339. 

Hallab (city), 275; 276. 

Historical poems, 242. 

Ibi-Sin, king of Ur, 281. 

Id (deity), river god or goddess, 294; 
297; 340. 

Igibalag (deity), 330, 13. 

Immer (god), 260; 262; 306; 330, 7. 


INDEX 349 


incense, symbol of Negun, 330, 12. 

Innini (goddess), 275; 270. 

IrriS (god), title of Ninurta, 306, 
5 5DP. 100, 3. 

Isin (city), 289. Queen of Isin, 306, 
25320: 

ISme-Dagan, deified king, 243; 245; 
257; 258; 250. 

IStar, goddess of Erech, 338, 24; of 
Agade, 338, 25. 

kagaz, pot, symbol of Ea, 340. 

Kenur, chapel of Ninlilin Ekur, 259; 
200; )301¢ 

Kes (city), southern and northern 
KeS, 311; southern KeS, 315; 
A113 1039207: 

Kingaludda, messenger of the Word, 
283. 

kinsig, a chamber, 248, 7. 

KiSegunura, title of Urasa, 302, 2. 


kisub, prayer in liturgies, 245; 256; 


B7Ose 200, 300: 

kusgugali, hide of an ox, symbol 
of Nindagud, 3390, 15. 

KuSu (deity), 339; 341. 

Lagash (city), 268; 270. 

Larak (city), 328, 16; 289, 9 and 20. 

lead, symbol of Ninmah, 337, 13. 

Libit-IStar, deified king, 243. 

Liturgical compositions and com- 
pilations, 237 ff. 243. 

Lugalbanda (god), 304. 

Lugalgirra (god), 328, 9. 

Lumma (deity), 304. 

Mama (god), title of Sin, 260, 8. 

Marduk (god), 294; 296; 337; 340. 

maxgibilla, burnt offering, symbol of 
the god Muhra, 340. 

maShuldubba, 330. 

MaStabba (god), 328. Mastabba- 
galgal, twin gods, Gemini, 340. 


mastakal-plant, symbol of Ea, 336, 
6. 

metals of planets, 334. 

mi-ib-weapon, 264, 22. 

Muhra (god), 340; 341, 7. 

Musical instruments, 249, 23; 251, 
2Oee20 2133 Os elUlee 

Nana (goddess), 326, 7. 

Nannar, god of new moon, 277. 
POs OMAR Toy ia ee OA vo 
B02 0G MIO Ss 00y Ls yaa, 

Nappasi (goddess), 303 n. 6. 

Nebo (god), 294; 297; 299. 

Negun (god), 330, 12. 
342. 

Nergal (god), 304; 306. 

Nigin marra, title of mother god- 
dess, 289, 8; 328, 15. 

nigkalalagi, kettle drum, symbol of 
Nergal, 330, 14. 

Nina (goddess), 270; 336. 

Ninazu (god), title of Nergal, 272, 
47. 

Nindagud (god), 339, 15; 304. 

NindaSurimma, mother name_ of 
Eniike 302: 

Nin-duazag, mother name of Enlil, 
302. 

Ningal (goddess), 303. 

NingiSzida (god), 306, 20. 

Ninhabursildu (goddess), 336, 2. 

Ninharsag (goddess), 272; 302; 
Rl: 

Ninkarnunna (goddess), 304, 4. 

Ninki, mother name of Enlil, 302; 
307. 

Ninliga (goddess), 272. 

Ninlil (goddess), 258; 259; 201; 
267; 302; 337; 338. 

Ninmah (goddess), 337. 

Ninmar(ki), goddess of, 269, 5 


Firegod, 


INDEX 


55° 


Ninsar, title of Nergal, 339, 14. 

Ninsig, title of Ea as god of metal- 
lurgy, 340, 28; 305, 9. 

Ninsun (goddess), 304. 

Nintud (goddess), 316; 318; 320; 
321. 

Ninul, Nimul, mother names of 
Enlil, 302; 307. 

Ninura’a (god), 256; 336; 337; 
338; 330. 

Ninurra, title of Ea, 340. 

Ninzianna, title of Ninlil, 302, 8. 

Nippur (city), 248; 259; 266; 
2007 205. 

Nunammir, title of Enlil, 258, 5. 

Nusku, firegod, 337, 20; 303, 328. 

Opis (city). Northern and southern 
Opisi site soceines, 

Papsukkal (god), 337, 21. 

Papilsag, god of Larak, 306. 

Queen of heaven, 304. 

Ramman (god), 338. 

Sadarnunna, consort of Nusku, 303, 
L5; obP.obs2note ty 

sagar, -liturpicale Tubricj3277, 103 
270. 

Sakkut (god), 341, 8. Sakkutmah, 
329). 21. (see also 3375 10 ease: 
22. 

Salalu, plant, symbol of Ninurta, 

meSiows 

Samas§ (god), 305, 14. 

Sarur-weapon, 274, 18. 

Sattam, religious title, 274. 

Sentur, title of Ninlil, 303, 10. 

Serah (god), Semitic title of Serpent- 
god as patron of vegetation, 303, 
16=SBP. 152, 10. 

seven gods, 338, 29; 303, 10. 

seven-headed weapon, 340. 

Silakki (god), 341. 


silver, metal of Anu, i. e., moon god, 


337, 10. 

Simli, cypress, symbol of Adad, 339, 
Foy 

SimSal-wood, symbol of a deity, 338, 
~ 


Simgu, an aromat, symbol of Nin- 


urta, 330, 9. 
Sin (god), 263; 277; 279. 


‘Single song services, 240. 


Sipatu, wool, symbol of Labartu, 
339. 

Sippar(ki), 301, 21. 

Sirar(ki), 270. 

Suddam, title of Gula, 306, 32= 
-OBP. 4160) 1SisrPorethisetitiesas 
Gula of Suruppak, see p. 177 n. 4 
in part 2 of this volume. Usually 
a title of Aja or Ishtar as deities 
of light. Since “Sukurru or Gula 
of Suruppak is the same as Sud- 
dam mother of ESabba, the temple 
ESabba must be located in Surup- 
pak. 

Sulpae, title of Enlil, 303; 320. 

Sumer, 259; 283. 

Sunirda, title of the eoddess Aja, 

_ 304. 

Suruppak (city), 277, 20; 278, 25. 

Symbols of deities, 336 ff. 

tallu, part of a door, 275, 20. 

tammarisk, symbol of Anu, 336, 4. 

Tammuz (god), 270; Hymn of, 
285; 336, 5. 

tirazagga, sacred grove, 280, 17. 

Titular litanies, 236; 302 ff. 

UbSukkinna, hall of assembly, 247, 


a3 

Uddagubba, messenger of the Word, 
283. 

udutila, symbol of Girra, 340, 19. 


INDEX 


Ur (city), 277; 278; 279; 282 5284. 

Ungal (god), 340; cf. 306, 31. 

Urasa (god), 326; 258, 6; 260; 302, 
oy 

Ur-Engur, cult hymn of, 243. 

Uruma§s (god), 320. 

urusagga, chief city, title of Isin, 
289, 16; 306, 24. 

Utta-edde (god), 305, 17=SBP. 158, 


4. 
Weeping mother, 265; 280. 


351 


Word, 261, 28; 262, 29; 284; 294; 
299; 308, 22; 315. Hymn to the 
Word, 283. 

zagsal, rubric, 233 ff.; 276, 37. 

Zarpanit (goddess), 294; 296; 297. 

Zeus Dolichaeos, 334. His con- 
nection with silver borrowed from 
Babylonia, 342. 

Zir (goddess), wife of Nannar, 303. 

Zu (god), the eagle as symbol of the 
sun, 340, 20. 


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I 
BABYL. PUB. UNIV. MUSEUM VOL. X PLATE LXXXV 


8 
OBVERSE 


aie ee 


aa ee _ 
ae ne - Dox — vite 
st ag 


Smee 


ca une = 
se 

alas erase S esa nde Tole 
ei Soe, ape 


SH te aa | 
z aN x¢ : noe 
WOT ee, Bate hee ge 


PLATE LXXXVII 


BABYL. PUB. UNIV. MUSEUM VOL. X 


OBVERSE 


sss oe Eve fee: SET AST PERE 
aN 
‘zs 


REVERSE 


eet ih, 
s ae | 
tt vmigeettt 


eee Bee eae ae 
ie aera eee ues: BOD: ae 


EAT 
ES ra 


CSTE 


Ty Vek 


i 


eta nd 


thos 
* » 
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Weta? 
ae 


BABYL. PUB. UNIV. MUSEUM VOL. X PLATE LXXXVIII 


10 


OBVERSE 


PAR Le a BOX, ¥ wa hee 
ee ee Sie WTS 


eh Ca 


PLATE LXXXIX 


BABYL. PUB. UNIV. MUSEUM VOL. X 


eS 


ue py aie 


qa) 


10 
REVERSE 
OL. 


bf Ry ova 
Ses : i 2 

Pein) es gore 

ies eb Bie je 


- 


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BABYL. PUB. UNIV. MUSEUM VOL. X 


20 


11 
aM iar le 


ie rE HRI Aa A 


Ae sie 
PAE vy val Ate ey we nae 
ewes enh EGE 


RY aug china’ lee 
HK oh rey Ba Jey ET See 
Fo RT AT RETR 
Pre ETE ae he Wa « FM 
Ay Ja ET we OK 


Cees 
oe RP MEL die eb te TM 
Soa HIRT ge TNE EOD Pa HSN 


sahohad vRS iat ete 
25 eel Boa is sealy Te, A gees ad 


ean Br Es vn 


| on al 
uot pag is eee 
eee We ead reeset 


pe Sea CE WROTE & Ln WH URE 
om ote DEX alas nthe gee — 


f < kor heat eo om | 


CONTINUED; 


PLATE XC 


BABYL. PUB. UNIV. MUSEUM VOL. X 


ae 


Pe ae el ey 
ae 


ve ed ET EI OF E ; 
10) WAAL ET TE ANT + AW KAA 
Ae era CS HE Ah Fe 

bit oh ORT te A OF ay] 
wk de bet bast Weta yop teil ek rey 


PLATE XCl 


ne ge = 


BABYL, PUB. UNIV. MUSEUM VOL. X PLATE XCll 


11 
OBVERSE 
Cot. 4. - Continueo . 


CS TCT AE RTE ES AT ERT KK 
ET CE CET BELA BE TET, 
LEG 2A i mgt acre A «K 
ire aes aot ae me 


$ 
Se Re oc ale: a 
of atarisee rE cis ae Te MS 
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& Fx 


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WEE DIS ye {Tre SE Ry AE AT 
SO BT ERT Sh ad 
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1g He we ETERS TT Ret BS 
Ky aT eH > EL Caplan ap aes, 
yeh a aA Ee TARO ABE: aan os 
wor ne OR KES Teed Re hs 
ao) Te peat ae Aw Re iat sae aed as pe HG ae — sy re 
Gs antes sf ve es St ane we r eu 
1g IN EA CE OS Ae ee ae 

ae ra we evil luis pe ae pee 

45 is aa Sarl SS mires a) ogee. 
ih ADA 5 ep RC ran : ee 


———————s—t—C te SS:—S—T 


BP ee ns 
aes e3 n 


BABYL. PUB. 


UNIV. MUSEUM VOL. X 


11 

OBVERSE 

COL. 4 - Continueo 

pes Scynvisee cee gO Tae 
ts Ee A ATT SR ART tie 4 ee 
ET AT He ok He a eh 
Banshee ad Com hrs PR Oe eo eh erm ON 1G 


14 Bh 


Ae hea Vg ee ee pet ie ae ie ae 5G 2 
OBVERSE 
Catsr.o 
PY erat 
Se [eV AA Cs © 
br TY 
Sey (0 cos ate a 
oT GT YE Be 


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sb 


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ip oe Pid HAA rp Ae 
Sry A a EM ht © Hee stat ba 
Hae y rere LE OES Te 
ech a eieterine Sas oe ft 
Wore TENE PRD © oe 
15] Wks te te AVE Sty, = 
ess F-ck de> ye ets i 
ATE RE it aR sk ta 5 je ee 
Be eet OR RE ee 


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Ty 
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pi 
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hae se A (Ia HSM ES ie TO 


CONTINUED 


PLATE XCIHlII 


. 
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5 
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BABYL. PUB. UNIV. MUSEUM VOL. X PLATE XCIV 


OBVERSE 
Cot. ‘sic ONTINUED 


PETS She ee is ai al 
Be Eps aHties ee, Tanase 


PECTS bap ATE OEE hk 
al NET ETNA BT IETS AE ERT oan 
ioe x he te 


BABYL. PUB. UNIV. MUSEUM VOL, X 


BATT Ts webpage yl! Re Shes a Ug 


Z BT 
e 
mt 


SES: ret Te d & te A 
rok Med Con ET bet Be RI eT ted 
OT Bao Tp Be A 


Mee Teal | 
20 wit JRT eal Ly rand Gabe a aM nl hacen 


HUI 
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7 


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al eel tory bay ESTE Se : ‘ ee ANTER 


PLATE XCV 


 BABYL. PUB. UNIV. MUSEUM VOL. X 


oa a 
as sity Cait 


ie 
Nag 
25; Eee, ENT 
sbve a aia 


ey SS ee Ltr ee 
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sawyer Wt} sel Fite 
smal ae aie aT Piel HaXtiathaatahie f 


ONTINUED. 


mC 


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BABYL. PUB. UNIV. MUSEUM VOL. X 


i 
REVERSE 


L. 2-Continueo 


Rhiik a> Er Med tal 7 ch ce | 
AE RO ie 

“| fread at a a bet BA 
Te Hate ist MET 


<7 trial Kt (RE D> OE 

49 Gere eT EL AET sT as me iy 
iE SEY ae oi Et eb A 
ali YS her oe 


— 


25, 


PLATE XCVII 


— 


PLATE XCVIII 


4 BABYL. PUB. UNIV. MUSEUM VOL. X 


BABYL. PUB. UNIV. MUSEUM VOL. X PLATE XCIX 


12 
me OBVERSE CoL. 2 


SRS 

wt {Ss ean enter 

| Se ee af 
> wt FOF 


Anal tee seine s 
mt RON mas yA pe Gate a 
sail ng PARA ae oy 


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= - cart ds 


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one 


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BABYL. PUB. UNIV. MUSEUM VOL. X PLATE C 


12 


REVERSE 
Cot. 1 Cot. 2 


ee Rs Nag ow Ok 
mete: ae T ye WET “a a ee os 
matics 7 &- se A as 
en ME 2k AU Ws rie 
MHA fre i es er 
he TAA te ya 8) kaa algae eae ia A 4 10° 
Salas 8 raha | e Farah 


He e es nes a Sore Sm 
a ee ea eek yh | WT ae le 


> a 


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vote or 


BABYL. PUB. UNIV. MUSEUM VOL. X PLATE Cl 


13 
OBVERSE 


AST Sey SHE Tad ESAT BE et eT A Vd oc 
Ae MIN onl fae Reale ARR bee’ Te eb Cee eR Sh Rl 
bec EA TE wa testi rel Re 
Nets AE 7 el casa 
, I Ais very He ive wR Bo ey 
SEL TI H CL Mhegsett cal 


eK HT AAT ¥ etl 
ta] Vet Wet PT EY (OR 
al clbglals! (athe 
0 taka rT PSE OR 
aay ay et 

=b-ae AAA f 
ae SY ATA ATA rics 


EATON aT RT a A eM eliy stench allnnetelice 
of vfTT ATS Oo BAF FES, hTERT 
Be ee 8 aT Rd Bnd A ST PT OH HT | 


Ty Vt te oe (9% HE a 
Te (ot ETAT 


T Het | 
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vol VEXET Tt Sa SE ee TA AT Pe ART el] 
ie Ee SAT le Bare eee Se 
ee RNS MEY Pell Sh ae TAT BE 
yen SA al FB wre et 4 
. cs 


Fp Bt —{- act 
wnceeeesoy YER rel Ee i hse 


spam Wy up ae & 
segrectnais necait ff EFT mH saat Las 


ml AT eet ai 


yet Wey oe 
NOT scan 


TK 


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7 \ 
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BABYL. PUB. UNIV. MUSEUM VOL. X PLATE Cli 


13 


REVERSE 


EE — 
PE TWH Same 
THY: y ita Ronee 2 Pe 


Jey att TEI 4 Mf pet be 
oe OR we be] bel 4d 
oy eT S- Cae Oe =! 
see re OCcGua Gs <0. > (= Lon on 
r Hem {M4 F ep ey on VEE 
me rE el mt ee ta Bx 
vo} WARE Yeek PT ET ell ok 
Le TF te sa 
i FAM tenet bel Mal 
cole wa eae taal online o 4GES 
‘ a Jem 
of HE UT T_T 
PR ANE Oa 
WEE gla > 1H Fan =A Dos ees 
pre eal EE ra val 
Wel my TE CEE vl 
BRE OA aE tet ET 


He FIA] 
HA CAL 
val TET ES oT te< TITRE AT KE Stet PoE EASE PEF 


PLATE CH 


BABYL. PUB. UNIV. MUSEUM VOL. X 


ae On sG A 
eae 


A 


as 
rey 


- ea ay 2 
Ga e Fas be 


rey 
we 


Cot. 1 


OBVERSE. 


7 tee Prey Bay bo 
fo ges $2 TE mh ve eee 


BABYL. PUB. UNIV. MUSEUM VOL. X PLATE CiV 


14 
OBVERSE 
Cou. 2 


MITA Vath! 

ris Wi EY PT eT MEY ee: HAS 
A el ala tts eed MY 
a Feel ET He et all PKS es : 
ree iy Ay EET AS 120) Se Merwe i ih 


5 are | 
Hk RE > Se OO OE a 
Hg Sh tae HR 


PLATE CV 


14 
REVERSE 


Cot, 2 


BABYL. PUB. UNIV. MUSEUM VOL. X 


. 


; (Gun 
AS 
Say Werte : \ 
1 asst 


Bi ya A 
me De 
S: 


=) 


<< 


=e 


a 


= 


oe 


1 
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"i 
ba 


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ae 3 r 


